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Widor Technique of Modern Orchestration PDF
Widor Technique of Modern Orchestration PDF
TGCHDJQUe
OF THE
MODERN 0PGHESTRfl
A
^O-4-JJ
-OF
Practical Instru
TRANSLATED BY
6dward Suddard
'iNET
Copyright 1906
JOSEPH
tiy
Jnspph
Vi/illiama.Ltd.
ON DON.
WILLIAMS.I.IMITE.O,
HENRY LEMOINE&C'"
ED.
NtW VORK
SCHUBERTHiCO
Mr
70
Ill
DEDICATED TO
SIR
ALEXANDER
C.
MACKENZIE,
J.
Mus.
D.,
Academy of
W. Iii>fi7.
LL.
D.,
Music.
D. C. L.
IV
Any
a.
tm'ih
the translnin-r:
London H
r
.
Preface.
Within the
ty for a
ments:
last fifty
new manual
their
compass and
state of orchestral
capabilities.
for the
works on Instrumentation.
manual will fully meet the
Strings.
We
of Double.
and
Triple,
has always seemed to us that
It
tion
Organ
in most
Complete Lists of
Woodwind, and
for the
To
instru-
may
even oc-
composer.
may prove
useful
to
en-
musicians
CH-M. WIDOR.
J. VT.
14267.
VII
Contents.
PAGES.
PAGES.
The
The
11
...
Transposing Flutes
66
67
15
List of Shakes
71
18
Muted Trumpets
71
The
TRUMPET
CORNET A PISTONS ....
TROMBONES
TENOR TROMBONE
BASS TROMBONE
CONTRABASS TROMBONE
SAXHORNS
SOPRANINO SAXHORN ...
SOPRANO SAXHORN ....
ALTO SAXHORN
BARYTONE SAXHORN. ...
BASS - TUBA
BOMBARDON
The
CONTRABASS -TUBA
The
PICCOLO
19
The BASS
73
The
OBOE
20
The
75
.23
The
26
The
The OBOE
D'AMORE
The
COR ANGLAIS
26
The
The
BARYTONE OBOE
CLARINET
27
The
29
The
34
The
37
The
The
The
The
...
ALTO CLARINET
SMALL CLARINET
The
CLARINET
BASSOON
The BASS
37
The
39
The
45
List of Shakes
......
The
BASSON-QUINTE
The
DOUBLE -BASSOON.
SARRUSOPHONE
The
The
37
n.
49
50
The
90
91
92
92
93
93
94
96
96
MENTS
The
KETTLE-DRUMS
SIDE DRUM
98
106
Muffled Drums
108
TENOR DRUM
108
The TAMBOURINE
109
The TABOR
109
The TRIANGLE
no
CASTANETS
The CYMBALS ......... 113
ANCIENT CYMBALS
117
The
-tion
The
87
The
CHAPTER
....
78
47
47
Shakes
78
51
NATURAL HORN
VALVE -HORN. .......
55
57
61
63
J.
W. 14267.
vm
PAGES.
PAGES.
The BASS
DRUM
117
The VIOLONCELLO.
175
The
GONG
121
Thumb
The
GLOCKENSPIEL
122
Pizzicato
177
The
CELESTA
123
Double Stops
178
The
XYLOPHONE
123
Triple Stops
179
124
Quadruple Stops
180
Bowing's
181
Harmonics
181
BELLS
CHAPTER
iv.
176
Positions
The
SAXOPHONES
SOPRANO SAXOPHONE
ALTO SAXOPHONE
TENOR SAXOPHONE
BARYTONE SAXOPHONE
The
HARP
128
Harmonics
188
Glissandos
129
Bowings
189
Harmonics
132
Runs
189
The ORGAN.
139
The
The
The
The
CHAPTER
v.
The Violoncello
125
.
.126
The
in the Orchestra
DOUBLE-BASS
184
126
Tremolos
186
126
Pizzicato
187
127
Double Stops
187
THE STRINGS
The
MUTE
190
The
BRIDGE
BACK OF THE BOW.
190
The
VIOLIN
148
Double Stops
150
151
the Strings
The
...
191
158
Compass of
Bowings
161
Pizzicato
163
-struments.
VIOLA
166
Double
167
Stops.
...
194
In-
195
-struments
168
Harmonics
174
List of
Bowings
174
CONCLUSION
APPENDIX TO CHAPTER
iv.
200
Organ
J.
w. 14*67.
196
196
.
199
Harp
Modern Composers
191
German
Harmonics
The
182
197
IX
Order of
Chapters
In the present work, the order in which the instruments are usually ar-
most
acute -toned:
(CHAPTER
Then, after
/)
a-
FLUTES,
(Piccolo)
OBOES,
(Cor Anglais)
HORNS,
\ TRUMPETS,
\
/
(CHAPTER
77)
^^^
TUBAS,
(Cornets a Pistons)
(Saxhorns)
Next come
(CHAPTER in)
Then,
The PERCUSSION
so to speak, in parentheses,
The
The
SAXOPHONES,
HARP,
ORGAN,
The
STRINGS.
(CHAPTER IV)
The
j
And
INSTRUMENTS,
lastly,
(CHAPTER v)
J.
W. 14267.
Memento.
The velocity of sound is about 1100 f* per second.
The deepest tone we are able to perceive is produced by a 64 ft pipe (Organs of
St Louis, U. S. A., and Sydney, Australia, in which the low C=8 vibrations per second).
64
_
_
32
fl
16
An
A
_
4
2
_
_
_
_
_
_
_
_
_
_
_
_
_
_
_
_
_
_
16
32
64
129
258
517
instruments)
C on
Tenor
Viola
the
\_Diapason
to produce
is
equivalent to a 16 ft pipe.
is
equivalent to an 8
fl
pipe.
is
equivalent to
a 4
ft
pipe.
Normal]
=435
vibrations).
The most acute tones perceptible to the ear are produced by 15,000,
vibrations, and even more.
20,000,
30,000
Timbre (Quality or Color of Tone Klangfarbe) depends on the manner in which the
column of air is set in motion, rather than on the material of which the instrument is
made.
depth, as
of the Trumpet
set
is
motion.
in
Compare
these
two cups
are, in respect of
Cavalry Trumpet;
the tone,
as
timbre.
It
is
instruments, the
1:2, and the shallower the cup of the Trumpet, the shriller
be seen by the
may
its
in
brass
If
is
a suitable
ratio
on brass instru-
narrow
it
is
impossibe
to
of
the
obtain
fundamental tone.
sixths,
etc...
aliquot parts.
J.
w. 14267.
11
I.
Chapter
*
The Woodwind.
THE FLUTE*
(Ital.,
1.
Flauto.
Some
of the
ceptional,
Ger, Flute.
still
Fr, Flute)
Flute,
few out
for a
of the
El>; this,
however,
is
quite
ex-
run of performers.
The scale
of the
Flute
is
Piano
fairly even;
PP
J?
The 36th and 37\h degrees can only be produced
1st
too
Remark.is
l^^l
excellent forte.
36 37
As
exceptional.
2nd Remark:
for the
37t2?
degree,
is
it
it
piano.
impossible.
By saying that
this
scale
is
The E
Jfci
"'
*~y
*)
2-
A
'
*L
Impossible piano
fairly
"-~
even,
mean
harsh.
is
need
not
trouble
to
think
of
about
its
the
*
L
3.
These defective
The three Cs
flat. D!>
(NJ 2,6,8)
tent
4.
in
hardly concern
(fo
sharp,
emission,
(N?
El>
and
Ns
1),
4,5,7
rather
talent to a
great ex-
corrects them.
Flute
Although the
eorsi.vuently
those
excels
in
number:
in
flats
descending:
Copyright 19O6
l>y
yet
especially
*,
and
'
'
J.
\v.
14267.
its favorite
keys are
THE FLUTE.
Dk
better than
it
for
following example, which also illustrates another point calling
Andan-te
We
comment.
finishing on a
here
see
an
be
one
of
to
Andante.
The reason
is
not obtained
is
F fingering
in
The performer
in
this
5.
are
employed
the
following:
-'
fundamentals
the
being
the
14 degrees
first
of
the
soale:
is
It
impossible
to
obtain
higher notes.
any
6:
in
his
When an
organist
monic
of the
instrument of
in
of the
8ft. stops,
like -pitch,
8ft. stops,
without at
all
in
a group of wind
in
its
natural position
per parts
luxury,
in
mere
the octave
filling-up.
Articulation.
Tonguing" is to wind instruments what bowing is to stringed instruments.
Flute-players make use of three kinds of tonguing, which they call single, double, znA triple
7.
articulation.
Single -articulation
is
this species of
tonguing that the
tained;
c
it
single -articulation:
f,
Andantino.
^*^T^==="
{t
"
^j
=
J-W. 145J67.
13
THE FLUTE.
However, great speed cannot be attained
to
make use
of other, so to speak,
in this manner.
In florid
passages the performer has
mechanical means, allowing of neither the same intensity of
such cases
double -tonguing,
he resorts to
8.
mer
i.
e.
As an instance
Night's
t,
as
in
t(ut),
c(ut\
of
Mendelssohn's
Midsum-
Dream;
the
Double - tonguing:
"
-gr
<u *
*
'
i>~
i?
Double - tonguing:
"cf
solo
in
Namouna
etc.
(Lalo):
=*
'
k t k
k etc.
.
(j.
Hamelle, Editeur-Hroprie'taire.)
Remark: Flute-players look upon both these examples with great apprehension, staccato passages
being difficult to execute in the low register, but as they are possible and their effect delightful,
what does it matter?
Double -tonguing
Andantino
B^^^
(By kind permission of A. Durand
9.
rapid
of
et
Fils,
Kditeurs- 1'roprietaires.)
as
inequality
of
nearly
slight
as
risk
sonants.
Passages such as the following are quite easy, owing to the uniformity of the
the absence of any kind of melodic feeling; they are played quite mechanically:
Vivo.
etc.
J.W. 14267.
figure
and
14
THE FLUTE.
But here
is
(Gounod,
Ballet in Faust)
(Choudens, Editeur-Proprletaire).
Speed of Articulation.
With single-articulation the maximum speed attainable in the low register
be
may
J = 112, and even then the passage must not be too long, on account of the
fatigue
experienced by the player, and the consequent heaviness of emission:
10:
stated
Allegro. (Jr
A.
speed of articulation
in
)=iao)
Single -articulation:
Bl?
in al-
fffffffffffffffM
Double -tonguing
of
however,
it
must be confessed,
Allegro.
Single- articulation:
(Difficult
beyond
.1
116)
In
11.
with
medium
the
Strings
in
register,
point of speed,
Rimsky- Korsakow's
(J = 138)
r.
~ ~
Simile.
Piccolo.
violinist's
wrist could
not act
more
swiftly,
J.
W. 14267.
15
THE FLUTE.
Length of Breath.
12.
The
mouthpiece
of
breath than
works,
where the
e. g.
the
Andante
Trio of the
to
Ishmaelites"
"Young
it
by composers, even
Berlioz's
in
in
some
Enfance du
cele-
Christ,
is
Shakes.
13.
All
EXCELLENT:
A 11
impossible.
not easy.
very difficult,
very difficult.
somewhat
heavy
somewhat
flat.
flat.
impossible.
-;
N. B.
LBJ
This shake
Ride of the
is
a very
it
awkward
one;
if
Wagner did
it
it
in the
possible,
cross:
impossible^)
heavy.
f*-7
not quite in
tune.
good.
good.
rather
very good..
heavy.
heavy,
possible.
good,
ff
i
heavy..
.good.
flat.
good
heavy
possible.
J.
W.
14267.
heavy.
16
THE FLUTE.
not in tune.
.good
heavy.
possible.
good..
fcMl
good
JJ
not in tune.
difficult,
possible.
possible.
Jj>'-^g
fa,J
good
Others impossible.
''
difficult.
f
.good..
heavy.
Others difficult.
Others bad.
.good.
i
Others difficult.
Others impossible.
.good.
J.
W, 14267.
17
THE FLUTE.
Others impossible.
.good.
bad.
possible.
Others impossible.
Others impossible.
.good.
Others impossible.
.good..
Others impossible.
heavy, difficult, possible.
In the
X. B.
is
it
can.
Others impossible.
Others impossible.
.goo
fingering.
Others impossible.
good
impossible.
Others impossible.
I)
good.
rather
1
lat
|-sp
Others impossible.
E|
possible.
Others impossible.
Others impossible.
good
Others
impossible
good,
If
Others impossible.
this section has
been verified by
(*)
impossible.
good. difficult,heavy.
rather flat.
N.B. All
'()
very difficult.
very
difficult.
Mr
J.
This
is
the shake
in the
Wagner wrote
f the
Valkyries.
Concerts
Colonne.
Rlde
possible (f).
Barrere, Solo
W. 14267.
flute-player of the
THE FLUTE.
18
Pratten,
Clarke, etc.
Briccialdi,
Transposing Flutes.
Flutes
16
are
made
in
several
At the
keys.
in
figure
still
El?,
Flute
F was
in
played
in
use,
it
still
pitch,
we now have
left is
the Flute
The Flute
Remark:
is
so weak-toned in its
medium
Written lower,
upwards.
it
register,
it
only begins to
tell
from
is
or
in-
3fc|:
otherwise.
The only question we should venture to ask Weber would be about his Second Flutes,
often an octave below his First Flutes, and consequently not sonorous, whereas the other
instruments are always so admirably treated
in
his
incomparable
orchestra:
Strings.
iaCrmS
(Oberrni,
Rezia's Air.)
and again:
Allegro.
Flutes.
Clarinets,
Bassoons,
Horns, Strings.
ing wonder.
instances;
_
at every step
./.
W. 14267.
(Oberon)
we are
filled
with the
same question-
19
THE PICCOLO.
(Ital.,
The Piccolo
1.
that
Flauto piccolo.
written
is
it
is
Bij
Kleine Flote.
the Flute,
like
(fo
Fr.,
of
Bl;
to
the
Note,
however,
Flute.
'
Petite Flute.)
but
Compass: from
Remark:
Ger.,
C above may be
written,
impossible,
ZT~ The
defect
of
the
Piccolo
is
that
it
is
not
quite
in
tune.
remember a short-lived
which the composer had given it an important and ultra-sentimental part to play.
with its swooning tones, having a tendency to flatness, evoked the idea of
some unfortunate .wretch beginning to feel sea-sick.
in
opera
This
3.
is
It
a mistake
to
or even to use
Flute,
as
Piccolo
its
part
is,
it
so to speak,
the example already quoted (V. P. 14) from the Paque Russe.
Berlioz always employed the Piccolo most effectively. See the Damnation
as a first
mechanical,
in
where
it
de
Faust,
Evo-
All the
remarks made
in
equally to the
Piccolo.
in
Piccolo,
the
Flute
'
very difficult.
possille ff
are absolutely impracticable on the Piccolo, If the first of these two shakes were written,
such is the practice of orchestral performers when
it would be
played in the lower octave
as for the second shake, the Blq not existing, there is
a composer has been too daring;
less
5.
The Piccolo
is
usually
made
of
to the instrument
discarded.
Authors
scores.
etc., in
their
THE OBOE.
Oboe.
(Ital.,
the time of
In
1.
Oboe.
Ger.,
of the
Fr, Hautbois.)
Wagner
This
The compass
2.
comprising
tense,
their
lone
the
not
is
modern
of
whole
the
of
varying
shades
becoming
thin
still
Oboe
of
be found
to
Beethoven,
in
Oboe, and,
French Oboe
difficult,
others
to
from
is
attack
exceptionally
their
J-
as to
Ctf
and
sustain, either
Highest.
r-
or
#fi
ft
D in alt} are
piano
inall
timbre:
Medium.
m
'
re-
to
from tragedy to
of
(save two:
degrees
Schu-
Registers of
the Oboe:
as easy
Weber,
impossible:
Upper.
the
most Ger-
tolerably
Low.
All
In
compass:
perfect;
of the
34 notes
for the
one
well
,=
in
tune,
flexible,
clear,
and
forte.
*.
Remark:
point
ly
of quality,
but
referred to above
(CK and D)
attack
to
suddenly,
i
(to be avoided)
J.
W. 14267.
as, for
others
in
21
THE OBOE.
Articulation.
3.
Oboe
The
a melodic
is
Flute.
from the
instrument,
the reed
Flute
in
being
"Tristesse de Rome'o" the very characteristic, pathetic wail, which, slowreaches its maximum intensity on the vibrating sonorous E in alt:
V.
in
rising,
ly
differs
the
Larg/ietto espressiro.
4.
being
The
made use
tonguing, and
5.
in
It
!s
of.
Double -tonguing
advisable
whichever register
not
it
give a
impossible
iteration
rapid
to require the
Oboe
of
the
for the
the
same
to articulate
in
letter
is
(as
in
likewise
Oboe;
note
beyond
quicker
its
tempo
p.
36)
"tut")
triplepower.
than
J:120,
be playing:
may
(J
We now
any
consequently
is
Rome'o et Juliette,
120)
at the
Conservatoire:
*--
^_^
W. 14267.
THE OBOE.
(J
140)
(J
156)
-if
I_L_J_
P-|
_J
(very difficult.)
The
last
bar, with
its
wide skips,
is
extremely
Slurred
6.
Ascending
ones,
All
intervals
are,
difficult
Notes.
speaking,
generally
to play.
than
descending
lips
being
Vivo.
Or this one,
impossible
in
the following
passage,
beyond 112:
(very difficult.)
very
cadence.
great,
Despite
passage, with a very expressive conthe quick rate of movement, the difficulty of execution is here
is
a perfectly
practicable
Vivo.
J.
W, 14267.
THE OBOE.
Length of Breath.
7.
timbre
intensity and
in
woodwind
instruments,
possessed of
such carrying -power that it formerly constituted the main element in military bands, while if
we once fix our attention on it in a modern orchestra we can finally hear nothing else, unrivalled as regards the ease with which it can swell and diminish its tone, the Oboe moreover
Superior
excels
comsumes
and
oboists
selves
all
far
it
less
defeated,
their
more convincing,
examples
alone,
of
the
the
Prelude
to
length of the
them-
would soon
be compelled to acknowledge
long before that of their rivals.
formance, on account
Oboe
flautists,
congeners in sustaining-power.
Despite the strength of its vibrations, it
wind than the Flute, for example. If a competition were started between
in
the
this
of
than
the
Tannhauser,
Largo
of
so difficult of
Hanper-
phrase
instruments,
connection,
3C^ act
is
equal
to
the task.
Nowadays
all
major and minor shakes can be executed on the French Oboe, from:
to
Every
of
finishing
off
a shake
on the lowest
^^
Bt|,
or on
.
etc...
etc...
etc...
J.
W. 14267.
(a
THE OBOE.
All tremolos possible up to the octave, except:
etc...
diffcult.
etc...
etc...
etc...
an excellent shake.
c fc
up
to the. octave,
possible in moderate
risky.
tempo.
All tremolos possible up
etc...
etc...
\a
c-- -
etc...
(Y) Nowadays
an excellent shake.
to the octave.
~
difficult.
very
difficult.
etc...
to
be executed by means
the octave,
of cross -fingering.
...
Nowadays
an excellent shake.
(#)
it.,,
excellent on
^-^--(^ Risky
except:
and
rather heavy,
difficult.
(*)
up
;...
to:
up
to:
up
to:
very
difficult,
very
(y) Nowadays
excellent shake.
very difficulties well as all above.
an
df
-
etc...
J.W. 14267.
all
above
note.
THE OBOE.
25
Very
difficult,
very
difficult, as
is
is
means of
a special key.
Impossible beyond,
~
difficult.
?_
^
Impossible beyond.
Impossible beyond.
Impossible beyond.
Impossible beyond.
9.
Some
working
sixty years
upon the
suggestions
of
all
still
constructed
accordance
with
the
not
quite
views
of
Georges Gillet, is perfect as regards truth of intonation, and allows of executing all shakes,
major and minor, throughout its entire compass, up to F, either piano or forte.
10r
etc.
Transposing Oboes.
11.
To
the Oboe
Anglais, and
family belong
three transposing
J.
W.
14267.
instruments:
the
26
THE
OBOE.
12
lower
in
its
from
is
compass
a minor third
is
to
sounding:
(The low
Bt> is
wanting).
r-
homogeneous quality, why is it not habitually used in our orchestras? To the Oboe d'amore Bach assigns his most pathetic cantilenas; for mezzoforte effects nothing can equal the charm of the upper register:
Remarkable as
for its
is
it
(Actual
sounds)
the
instrument
skips by
sixth
to
in
sedes.Afass in
minor.)
bars
of
connection
the Magnificat,
same mechanism
and
etc.
to St.
should
Matthew,
the
Christmas
can
Oratorio,
be studied.
is
played in the same manner as the ordinary Oboe;
execute the same shakes, save two:
Oboe d'amore
The
13.
Passion according
the
too,
the Cantatas,
it
has
the
'
_(*)
good.
These two
ted
00 +
impossible,
shakes (x, y)
on to the instrument,
difficult.
be rendered
will
if
very
ever
it
comes
possible
to be
used
alt.
used
in
is
former times
_*
ment).
Compass:
Lacking
lais
upper
Sounding:
exhibits
register
three
distinct
weak and
sickly.
and
The
best
register lies
sounding:
J.W. 14267.
between
the
figures
gravitating
to
special
-A-
shake
this
Formerly
thanks
this being
performer,
15:
all
key,
for
~j
shakes from
low
B^
to
high
Dq can be executed:
Remark:
y,
17.
octave
sounding:
(Bt
is
wanting)
The fingering and mechanism are those of the ordinary Oboe. The Barytone Oboe will
form an admirable bass when all the instruments of the same family are concentrated inat the heart of the orchestra, in the imto a focus of intense, almost bellicose quality,
mediate
18
need
two varieties
mitted
with
of
neighborhood
into
hardly
of
the
the Small
the
the Horns.
refer
same
either to the
kind
orchestra.
But
Clarinet
El>,
in
of
I
in
instrument,
must
at
or to the
differing
only
men'tion
in
Pastoral Oboe
the reed,
Soprano Oboe
the
military bands;
Oboes were
Musette
this
is
in
Et,
(in
for neither
used,
At),
is
together
if
a complete
ad-
family
with
of
Its
to
sounding:
The fingering and mechanism are the same as for the other instruments of the Oboe family.
So far, the Soprano has only been used once in the orchestra: by Vidal in La Burgonde.
J.
W. 14267.
28
19.
Remark:
The timbre
of the Oboe
is
so characteristic
If,
of
for
these
instance,
two
ways
the
of
following
scoring
Oboes.
Clarinets.
it
preferable:
to
be written
in
four parts,
the first
29
THE CLARINET.
(Ital., Clarinetto.
The compass
1.
of the
Clarinet
Ger., Klarinette.
42
is
notes, from
Fr.,
Clarinette.)
AT
to
f
'
-
and
is
con-
It
is
reach
always difficult
to
fix
A in altissimo
the scale,
because such
it
proves to
be
in
.
players.
In
in
piano passages G
the case
of
instrument,
is
*p"j
is
'
the
extreme
limit.
Every degree of the Clarinet's extensive scale is excellent, but the timbre of the instrument varies considerably in the different registers, of which it may be said there are
three:
<
30
THE CLARINET.
ulation
simple,
ly
the
that, in
to
part
performer
execute,
again
begins playing
Mozart,
the first
for
he
the Finale
of
effect
ilar
these
no kind
involving
in
C, or
in
in
F,
assigned
time,
with three
or
four
solely
precise moment.
Wag-
Besides,
particular
the
first
When
knew
slow
is
of
allowing
well
ner very
instances of signatures
and
sharps or flats,
only two
find
or
risk
of
change
or difficulty
6.
in
Beethoven
C.
of
At
fingering.
Clarinet
of
of
used
in
lower register
its
sim-
Eroica.
C Clarinets have disappeared, and nowadays Clarinets in Bl> and A are alone emThe former are more brilliant in tone; virtuosi have adopted them for their
ployed.
4:
The
concert- pieces.
latter,
lower by a
to
not
semitone,
descend as low as
only possess
Cjl
Clarinet
sounding:
in B\>
Clarinet
in
sounding:
Clarinet -players
5.
complain
of
accidentals
to
to
replace an
instrument
another
few
bars the
new
the instrument.
changing
instrument,
of
which
It
is
true
quite
that
warming up
in
in
it
is
in
a thorny
bush
to
have
annoying
tune.
as properly
But
and
at
the
end
efficiently
of
as the
one,
dom necessary.
It
and
that
Allegro,
in
the course of a
6.
with a
Among
forte
the
latter:
of
the
in
is
of
the A Clarinet
movement;
the
in
the
B!>
following
is
frequently prescribed
i.s
in
ever
an
made
to
such a
Allegro.
Clarinet
in
Clarinet
Hi.
J.
r
.
14267
81
THE CLARINET.
The pianissimo of the Clarinets (in the low and medium registers) represents the minFlutes
imum of sound obtainable from wind instruments.
Compared with Clarinets,
would
be
in
mezzoas
a
as intense and metallic
in their lower register seem
Trumpets
forte.
a whiff of
but
which
allows
of
mistaken
be
tone
its
blending
other
no
for
a Second
of
place
lost
its
timbre:
'tis
air.
Another characteristic
7.
of
hardly even a
is
It
the
of
with
Clarinet
almost
Flute, or
of
every
the
instrument,
a Second
an unrivalled
is
its
neutral
in
group
Clarinet
can,
tone-color
orchestra.
the
without
Horn, or even of a
in
attracting
its
Bassoon,
take
notice,
rich
full,
the
quality
instrument.
power
blending
In his Piano
Mozart
a
wrote
Flute
two Clarinet
and
Concertos,
single
frequently
part
parts,
treating all three instruments in the same manner, as if they were three Flutes.
In the
Overture to Egmont, Beethoven has ventured to assign the dissonant note of the
chord
possessing
to
balance
of
and
single
in
Clarinet,
treated as
two A\>'s
is
really
very
of
it
if
orchestral
were a second
writing,
for
the
Horn,
against one
E't>,
four
C's
weak:
Clarinets.
fe
Bassoons.
Actual sounds.
a@
Horns
Egmont
(Breitkopf
&
Hartel's edition)
must have noticed the "poetic Bassoon" effect produced by the Clarinet in
the Ballet des Sylphes.
A real Bassoon would have been ridiculously dry, and a Horn
All
musicians
too
heavy.
beats, beneath
in
its
the harmonics
wake, as
it
were, a
the
of
little
spray
of sound.
And what
Note
tremolo
shall
we say
the admirable
of
the
of
the
orchestral
effect produced
Violins:
Clarinet
by
associating
the tremolo
in
Beatrice et Benedict!
of the
Clarinets with
the
THE CLARINET.
8_
ly
to
All
should
passages
(J
Oboe,
exceed
hardly
articulation
the
maximum speed
in
120,
be
of
the
for
120)
p
dfr
the
in
found
in
(Widor,
Introduction
of the
case
Etudes and
(J
and
staccato
examples
Concert- pieces,
of
-.
frf.fj
*'>
/f ft
'
ff
speed
e.g.
B!.
in
numerous
Oboe,
notes
articulated
any
,,
(J
Clarinet
the
120)
But, as
may
the
case of
the
in
Clarinet.
the
As
that has
132)
Rondo)
Many
rapidly
Clarinets
composers treat
as
these
latter
instruments
Symphony:
as
in
if
they
very quick
All
Flutes.
14
8
Clarinets
in
A.
Bassoons.
Horns
in A.
-g-
'i'"
fl
were
vivace.
*
1
/P
&i
Flutes,
obliging
C!, Editur-Proprie'tir.)
them
to
articulate
of the
as
Italian
33
THE CLARINET.
9:
the matter of
In
instruments
phrase
be
may
played
the
by
on a par.
the Adagio
considered
in
Horn,
can
Clarinet
Take,
of
for
the
rival
the
the
instance,
Oboe;
in
return to
fact the
two
after
the
Ai>,
Septet:
Bk
Clarinet in
dolce.
(Beethoven.)
good clarinet player does not take breath after the crescendo (marked
two bars later, after the A.
-
Here
+),
but
only
another example:
is
Moderate.^
Bk
Clarinet in
|^_
cresc.
Professor
could
Turban
(of
Paris
the
be sustained piano,
the
in
Conservatoire)
medium
and
register,
for
myself
40
calculated
or
45 seconds.
the
Since
Clarinet,
Boehm's
all
of
to
few
of
these
shakes
are
not
very
brilliant,
others
consequently
heavy:
* difficult.
#(Djt somewhat
flat.)
flat.)
-heavy.
J.
W. 14267.
THE CLARINET.
34
As a matter
11
pecially
of
these shakes
fact, all
may be
shakes more or
written,
less
ones
(es-
*This
dangerous.
12r
We
list
of
N. B.
difficult.
etc...
etc...
etc...
rfC
pg^
etc...
^=
y
e tc
up
to the octave,
J.
W: 14267.
-"
N.B.
**> Bt,and
A,
o^anu
B
are alwavs
&1
Bl?*
?S
-"
_M? zL^
Pf~
vv^
,
gpi
heavy
difficult to attack.
THE CLARINET.
All tremolos possible
except:
up to the octave,
etc...
etc...
up
ff^Otr
||
=J
|
to the octave,
except:
etc...
35
etc...
possible.
etc...
^
ffg=
B
R
etc...
*^Ji?~
possible.
=^<-
b;
N. B.
^^
r-
G $
Above
tremolos
-^_^
become
f^l
difficult.
possible.
+
;...
^
.,
up to the octave,
possible.
^---
up
t>
is Ulllll<Ulb
ID
difficult
Difficult beyond,
heavy.
.heavy..
--L
~fa
etc...
up
~f
pi
II
etc...
'
to the octave,
up
to the octave,
n-w
Difficult beyond.
II
except:
3
M^l
ffp J
ttrgp :^p
v y-
difficul
good
which
...
in alt.
it
is
difficult to
attack piano.
etc...
...
I'M
W.
J.
W.
14267.
as
'
'^fo
p
L-^d ""^g^
except:
to the octave,
==e
except:
which
90
36
THE CLARINET.
All tremolos possible up to
etc...
in alt.
etc...
etc...
in alt.
etc...
in alt.
etc...
etc...
difficult
etc...
difficult
in alt.
in alt.
above.
above.
+,
D> somewhat
Higher tremolos should be avoided.
almost impossible,
possible,
difficult.
heavy
difficult.
It
is
W. 14267.
11,
page 34).
87
THE CLARINET.
Transposing.
We
13.
writing
exclusively
for Clarinets
that the
Clarinet
in
A.
and
Bt>
in
that
All
(4)
no longer
is
in
modern
use,
for
composers
have
they
the
14.
from
is
compass
tuned
is
in
member
This
F,
of the Clarinet
not
is
family
much
in
be con-
B!>
(if
use nowadays.
Its
__^
sounding:
for
The Small
15.
in
This, also,
Clarinet.
has employed
Berlioz
in
Wagner
it
the
in
Nuit de Sabbat
transposes
frequently
J.I
In
his
this
part,
16.
in
is
compass
written
is
of
latter
military
like
his
tuned
is
it
&
and
Symphonic Fantastique,
the Small
work,
Clarinet
The Bass
its
Clarinet.
B.>
it
E>;
is
and
Alto Clarinet
is
tuned
instrument
in
in
D,
Ek
(WalkUre^
p. 442.)
lower;
C9, Publishers-Proprietors.)
Clarinet.
the Bl
or
Clarinet,
from
\>
to
lower
register,
which
The mechanism
valuable.
of
Bass
Clarinet
and
is
fullest
identical
notes,
is,
of
course,
most
the
in-
strument.
The
Bass Clarinet
to bring
it
is
admirable
an
Bassoons,
Huguenots
constant
Liszt's
Lohengrin,
first
composer
and the Prophete).
Afterwards, Wagner used the
bass to the other wind instruments, as. an auxiliary to
instrument;
son et Dalila,
that
melodic
Dante -Symphony
(Purgatory),
the
2!
of
Tannhiiuser,
act of
Sam-
etc.)
produced
to
Elizabeth's
J.
for Clarinets,
prayer.
W. 14267.
Bassoons,
38
The Bass Clarinet can pass from a forte to a pianissimo as easily as the standard
If it were necessary to have a phrase
instrument itself.
repeated in slowly-dying echoes, the effect
17.
be obtained
required could probably
Bassoon.
(Actual sounds).
*)
Horn.
39
THE BASSOON.
Fagotto.
(Ital.,
The
1.
In
the
for
writing
firstly
with,
and
and
to
37
of
is
may be required
it
orchestra,
Fr.,
Basson)
notes, from
to
write
Ger., Fagoit.
of
was justified
he
but
E,
higher
such a nature
bravura
limit, but in
4
~|g~~
that
in
secondly because the intensity of the Violoncellos and Violas, playing in unison
doubling the Bassoon part, was likely to neutralize any mistake made at such a height.
Allegro.
(Tannhauser, Overture,
former times, the Bassoon was seldom required to descend lower than Gamut G
In
became possible to obtain Bl>, but neither Bq nor Cs could be produced, so that
scale was diatonic for the first few notes, only becoming chromatic from E\> upwards:
Later
the
it
0"
TT
.chromatic..
.diatonic..
Mozart,
tween
in
stance,
and
In
good;
so
in
register
A?
quality,
the
for
Bassoon,
Don Giovanni
usually kept
and
(Double D)
wrote
he
that
rarely
in
within
it
in
piano
all
the
37 notes
passages,
the
of
lowest
the
Bq and
being
register
unsatisfactory,
(El],
difficult
F,
Fij,
paration:
to
somewhat
difficult to
In
bad.
sharp,
is
attack,
followed
an exquisite
finally, after
by a fairly good
seventh,
a bad
with a
Ai>,a dull
medium
timbre
fourth
register
closely
K
in
m
exquisite.
bad.
J.
thin.
W. 14267.
Wood-
^=
be-
notes,
requires
preparation.
comes
-^"^^^
diameter.
^
fairly satisfactory.
entire
weak
admirable.
pre-
p'vr^'
I>TT
thin
some
requires
preparation.
(n^J-"
equally
in the
Ei>
it
ing
upon as
fact, the
group,
be-
Concerto
the
requiring
attack piano.
wind
of
l,^
i|TF
3,
limits,
Andante
the
old
its
(Double C).
forte passages
not
medium
it
Overture to
the
C minor
in
in
p. 25.)
=,
and
THE BASSOON.
The
lowest
duction
such
of
could
Trombones.
the
bass of
fifth
intense
that
in
However,
sounds would
in
vie
in
need to be taken
exhaust
completely
the
account, and
into
the part
written
performer.
it
could just
often been required to play down to A;
Wagner, the Bassoon has
of
the
tube.
Doubtless
in
the
length
as well be made to descend still lower by increasing
a few years all Bassoons will be able to sound this A, but for the present it is well not
to write lower than B!>, this being the last note on the great majority of instruments.
Since
Articulations.
5
B? to the highest
lowest
the
the
Like
Clarinet,
B!>,
In
1526)
medium and
the
138)
(J
Of course,
high registers:
when
effects
soon falters,
the
to
quired
abound
since
wind
If
of
in
lightness
of
articulation
is
play
very rapid tempo,
the scores of Wagner, Berlioz,
the
Strings,
in
the
The
Liszt,
tempo.
very quick
course),
tune,
a mass
of
in
were
most astonishing
When
7.
must be
foreground.
The
6.
this
of
^f^JT
f__j
r*^--7rpij-|
isolated
they
whose defects
all
it
the
skill
play-
self-confidence.
in
notes, not quite
but when these notes
doubtful
to
requires
conceal,
performer's
by the Violoncellos they seem excellent.
Here are four bars whose bass had been given by an inexperienced composer to a solo
soon:
are doubled
Andantino.
*- j-1
P
.
f-
timbre
of
the
in
the register of
out
instrument
of
tune,
was
in
the
not
J.
?=*
fairly good
through any
itself
Bas-
fault
unsatisfactory.
W. 14267.
medium
of
and of the
^
weak notes
41
THE BASSOON.
As soon as the composer had concealed these defective notes beneath the pizzicato
the
Celli,
the
sounded
passage
quite
mm
Bassoon.
^^^w~^m
33
m
Cello.
of
different:
Pizzicato.
The
instruments
all
blended
in
a pleasing
ensemble,
perfectly
as to truth
satisfactory
of
intonation.
7.
In
the matter
it
slurred
of
can
notes,
Bassoon
the
like
the
can
rise
descend:
Allegro.
in
Staccato
on the
8.
Descending slurs
as well as
lowest
slow tempo,
all
slurred
twelfth,
and even
tempo
quick
when
can be played
fifteenth, etc.
* i
fi>
in
to be avoided:
intervals
starting
downwards from
register:
J.
W. 14267.
G'b,
E>,
D,
Cjt,
and
Cq
in
the
THE BAbSOON.
Rad:
Bad:
9.
slow
In
tioned
tempo, descending
slurs
can
are
used
in
above),
any
one
chromatically,
but
Taking
10.
Is
able
which
It
none
is
of
alike;
can
of
not
is
somewhat
astonishing
its
as a fulcrum,
notes
its
this
notes
deep
available
Strings
It
it
sound
to
they
provided
of
neighbors
an
that
such
can
reinforce
suspected:
Allegro
of
the
speed
of
is,
the
scale
intensity,
What services
perform?
blends
every combination;
may be put to all kinds
accent
the
men-
instrument
it
an
dangerous, and
for
it
be
an
with
renders
it
every
in
orchestra!
the
group
work.
of
Strings, without
its
presence
being
even
so
much
as
molto.
Bassoons.
lit Violins.
"d Violins.
Violas.
Celli.
Double-basses.
(j. Hamelle,
PP
Editeur-Proprietaire.)
Widor,
It
from
may
complete
the
Horn
group,
blending
so
perfectly
the Brass:
J.
W.
145J67.
that
it
2 nJi Symphony,
cannot
be
p.
130.;
distinguished
THE BASSOON.
Clarinet in
A.
43
tranquillo.
=M
J J
Bassoons.
Horns
in E.
HM^-^^&H^
J9___
=3=
^EEiEE
9=
A f~
::
'
n~
Basses.
PP
Without
the
the
least
weakness,
it
can
(Mendelssohn, Sommernachtstraum?)
bear upon
its
whole weight
of
harmony:
Flutes.
Bassoons.
(Wagner,
pp
Meistersinger, p. 354.)
Figures played by the Violoncellos and Double-basses, or even by the whole group of Strings,
gain verj? much in^ energy and intensity when^ doubled^ by the Bassoon;
Flutes.
J.
W. 14267.
44
THE BASSOON.
The staccato
Bassoon
the
of
Strings:
Flutes and
Oboes.
(J
be as
when necessary,
can,
light
as the pizzicato
of
the
69).
^qJz;
*
I
_J
???
Bassoons.
feE5
E^
Violins.
Pizz
Basses.
Pizz.
(Meyerbeer, Struensce.)
not
Is
staccato
this
the
of
Bassoon,
in
the
Serenade
of
Mephistopheles, fully as
supple
a pizzicato?
as
Oboe.
Bassoon.
_.
x'
_.
r
^
*
Violins.
Pizz.
Violas
Mt'phist.
Aiii.si
ton ga.lantt'ap
pel
lo.
Basses.
Pixz.
By
(Gounod, Faust.}
tained
the
Mozart
even
obwrites
Flute.
Bassoon
(//
Violins.
Bassoon.
di Figaro.)
Any
serve
score, opened
all
kinds
of
at
random,
purposes
with
will
afford
unrivalled
J.
instances of
facility
and
W. 14267.
the
Bassoon's
efficiency.
singular
ability
to
45
THE BASSOON.
Length of Breath.
General
11.
required to
rule:
play
of
-.
80)
^^
XTJ X
playing
80)
in
the
it
forte,
proportion
still
to
its
is
p\>*
Even
is
(J
more breath
experiment made
according
the Conservatoire
(J
the
it.
-*
-v
the
diminished,
considerably
,Tf
maximum
is
bars.
9 bars.
duration
intensity.
From
From
Double
Double
B't>
F to B?
to
in
Double
the Treble
staff
"
nearly all
are
possible, except:
.very bad.
.impossible..
not good..
Possible.
Eg
Impossible.
somewhat sharp.
Possible.
Impossible,
^p
(impossible, as well as
in the octave above.)
Good.
Bad.
(bad, as well as in
the octave above.)
(possible, but
not good.)
(impossible, as well as
in the octave below.)
J.
V. 14267.
46
THE BASSOON.
gp
"iar?
P '(
&
Good.
Bad.
Good.
Bad.
(possible, but
not in tune)
(bad, as well as in
Good.
for
orchestral
purposes.
Bad.
The major shake on E (E F)t) was formerly reckoned one of the most awkward, but
the modern virtuosi, having carefully
"
practised it since Bizet's time, caji now execute this
Remark:
***
all
shake
brilliantly.
Moderate.
Bassoon.
<r^rr^r~~
'
J^
Orchestra.
3EE
(Choudens, Editeur-Propriftaire.)
(Carmen,
p. 177.)
Tremolos
13.
is
often
impracticable,
if
not
rising,
at
least
falling.
'
ffP
Impossible bt\yor,d.
Impossible beyond.
Impossible beyond.
Impossible beyond.
Impossible beyond.
Impossible beyond.
Impossible beyond.
Impossible beyond.
# N.B.
Impossible beyond.
Beyond this
become
point, tremolos
almost impossible.
J.
W. 14267.
47
THE BASSOON.
Impossible beyond.
Impossible beyond.
Impossible beyond.
Impossible beyond.
Impossible beyond.
Impossible beyond.
Impossible beyond.
Impossible beyond.
Gambaro,
Pierne, etc.
Etudes
by d'Ozi,
Milde, etc.
Neukirchener,
TRANSPOSING INSTRUMENTS.
The Basson - quinte
The Basson-quinte has not yet been made, but bassoon-players are calling for
it.
a fifth below the standand instruform the true bass of the Woodwind group,
a
semitone lower than the Double-bass:
ment, descending consequently to El?,
14:
It
would
loco.
sounding:
The low A which Wagner wrote below Bi> is admirably rich and full; 'then' say professiondescend to El>, with the same fingering and the same capabilities as the ordinals, 'why not
Bassoon?'
We have already seen (3) that the low fifth, from Double B\> to Double F, is
ary
sufficiently
robust.
makers
tale
robust
to
The Basson-quinte
to
us with
provide
l' Exposition
said
is
sound;
be
easy
the near future.
in
it
of
to
the
of
"new" low
fifth
construction;
(See C. Pierre,
more
would
be
still
look
to
instrument-
we
La facture
instrumen
de 1889).
The
tha
Double- Bassoon
lowest
from
Y-
is
and Bi.
.
made
pitched
Its
instrument,-
is
compass
written:
to
wood
It
is
the
or of brass.
decidedly inferior to
common
to
both
instruments.
Satisthe
timbre, especially
point
register
factory in the first seventh, it begins to grow weaker from Double Bk| upwards, diminishes conall higher notes
being obtained by
siderably in intensity in the neighborhood of F#
Bassoon
overblowing
trumpet.
is
of
in
and
either
of
in
>'
^!
with
Satisfactory.
nasal
twang
Actual sounds: ^J
j
bassa
loco.
ike that of
W. 14267.
like
that
of
Altogether inferior
to Ihe Bassoon.
a,
Toy Trumpet
toy
48
The
low
first
the
or even
Woodwind,
The manner in which the tone
pedal-notes
tirely eschewed.
the
but
Bassoon,
rapid
sound
reed, being
ineffective
instrument
treats this
bravura
like
very
it
when used
satisfactory,
fairly
the
sustaining
case of
alone
is
the
is
larger,
on
is
Horns,
slow
in
produced is
slower to vibrate, so that
Double -Bassoon.
the
carelessly,
to
tempo
first
to be enin
the
and
florid
rise
it
making
deep
play
but
manner;
satisfactory
they
effects performed
(All? maestoso.)
V'
Contrafagotto.
L \\
(All? energico.)
Contrafagotto.
Contrafagotto.
of
even for an
ienced
his
immortal
work.
mention
this
all
as a caution
to
young
be too
composers
venturesome, unless they happen to have Beethoven's genius.
into
Here, on the other hand, is a fine effect produced by a Double -Bassoon
brought
prominence; nothing can sound richer and deeper than its Double 6 beneath the low 6
of the Horns:
Allegro.
to
Flutes.
PPP
/TV
Piccolo.
V J
Solo.
Oboe.
PPP
/T
Cor Anglais.
Bk
Clarinets in
PP
Double - Bassoon.
Horns
in F.
~V5
(Saint
3rd
(By kind permission
Robust
a deal
lungs
of
breath.
moderato.
write
in
are
needed
The
So, care
to
play
maximum
must be
such a manner as to
the
of Messrs A. Durand et
fils,
p. 124)
Editeurs- ProprieUires.)
duration
J.
W.
14267.
is
of
placed
rest.
in
the foreground, to
49
THE SARRUSOPHONE.
over which it possesses disSarrusophone is a rival of the Double -Bassoon,
tinct advantages as regards both facility of emission and intensity in the low register. The
column of air contained in its very wide tube is set in motion by means of a double- reed
The
1.
that
like
the
of
instrument
which
Bassoon,
the
resembles
in
its
mechanism.
The
Sarrusophone
so
tone,
that
say
vibration,
sometimes accused
is
the vibrations
pipe,
just
criticism.
like
as distinctly as those
be perceived
of
reedy
quality
Each
a
of
separate
32 -ft.
organdetractors,
This is most unis in the immediate proximity of the striking reed.
When the instrument is in the hands of a player accustomed to the bas-
It then
a great measure disappear.
produces a full rich tone,
since it can descend without hesitation
of the Wood -wind group,
the Bassoon:
below
octave
of
the
an
orchestra,
depths
to the
sound
can
its
of
in
sounding:
Compass:
loco
fjta bassa....:
The
2:
Sarrusophone
is
written
The Sarrusophone
very sweet
family
Soprano
Bk
Tenor
}>,->.
Bass
in
to
corresponds
and
Bombarde;
organ-pipe,
just as the
Double
it
a 16-ft.
Bk
is
complete:
Compass:
Sounding':
Compass:
in
and
tone.
etrating
in
C,
Bassoon
3.
in
Contralto
in
&
p*
Ek
Barytone
in
A
w
Ek
Double -Bass
in
Ek
t>
None
4.
of
This
these
interesting
instrument
varieties
possesses
.
^?=
two really
full
excellent quality.
50
THE SARKUSOPHONE.
ease.
qua)
bottom
are
following,
notes
can
as
the
the
All
scale
the
of
at
produced
Even
top.
with
be
in
practicable:
(
Double- Bassoon
overcomes
phone
the
the
the
would
case
such a
in
almost
difficulty
Sounding an octave
lower.)
Sarruso-
Articulation.
maximum speed
The
5.
attainable
about
is
as
follows:
(Actual sounds.)
(J =
116)
(Actual sounds.)
loco.
(Actual sounds.)
The breath can be held about as long for sustained as for detached notes.
In
moderate
the
lowest
C
can
be
sustained
for
or
for
three
bars:
tempo,
forte
two,
piano,
(J =
The C an
88)
octave
"}
above
<
can
be
held
for
or 5
bars.
Shakes.
6.
the
with
the
All
shakes
two instruments
speed
of
Bassoon
same.
and precision:
*)
In
the
being the
short, the
^^^ ^^^L^h J
Sarrusophone stands in much the same relation to the Bassoon as the DoubleThe two pairs of instruments may be treated in a parallel manner.
Bassoon.
Sounding:
Sarrusophone
What
assigned
treated
the
to
like
Bassoon can
low
notes,
people
do, the
which
Sarrusophone
is
likewise
in
of
able to perform,
proportion
to
within
the limits
must be
consequence.
Saint -Saens and Massenet have
employed the Sarrusophone in several important works. It
is an instrument
which will come more and more into
use, especially now that it has been
perfected and its low register extended downwards; (a few years ago it could not descend
lower than 16-ft. C).
In
Paris, it has been adopted by the Opera, the Opera-Comique, and
the Colonne and Lamoureux Concerts.
It is now
beginning to appear everywhere.
J.W. 14267.
51
Chapter II.
*
The Theory of
1.
liefs.
a third,
of
the
to
correspond
or of a quarter,
etc.,
vibration
in
whole column
of
according
the
of
to
amount
the
of
bas-re-
ancient
or
air,
of
half,
exercised
pressure
by
the
.'
lips
When
when
the
of
column
of
air
set
in
air- column
us assume
Let
the
whole column
the
half
the
of
which
those
"Only
or
the
is
series
following
each
to
thirds,
16-32
octave,
still
higher
eighths
32
the
12
It
13
16
15
14
by
finally
almost
tone.
Just
attempt
octave,
the
following
each other,
into
merge
64
down
writing
of the
next
separated only
16 sounds of
the
octave, the
128
throughout
the
of
by
the
the
octave!
The theoretical
2.
the
of
10
in
of
mathematically
body falling into water draw
proportion as they get farther from the starting-point,
octave apart (1-2), then a fifth (2-3), then a fourth (3-4),
thirds
fourths, and
..
..
produced
other
sound-waves, first an
and seconds apart,
so these
then
closer
can
waves
as the circular
Just
is
8 -ft. C
tone
harmonics
of
..
closer and
is
fundamental
the
made
is
to vibrate, the fundamental tone
sounded;
a third
is
when
the
second
obtained;
vibrates,
upper partial
is produced, and so on.
the
third
upper partial
motion,
air
of
compass
from
brass
the
all
extends
instruments
much more
whole
of natural harmonics
Very
16, but,
practice,
wide tubes, like those of Tubas and Contrabass - Tubas, can alone sound the fundamental
tone; the other brass instruments start from the second upper partial. Very narrow tubes,
such as Horns and Trumpets, can alone reach and even go beyond the 12tb, 13*!), and 14
series
upper partials.
And yet these
for
have,
nor
13 or 14 notes,
sufficed
centuries,
nor Beethoven,
Mozart,
able
to
chromatic
four
play
to
nor
to
in
unequally
scattered
semitones
ever suspected
two
throughout
Weber
is
it
to
that
the
half
octaves,
Neither Handel,
would one day be
orchestra.
Trumpet
succession, or a Horn
in
and
limited.
come down
out jolting.
Owing
to
the
breaks
in
scale, the
the
The invention
3.
giving
him very
monic
series,
tonal
It
of
equal
also
valves removed
diatonic
bringing
and
exactly
the
difficulty,
chromatic
into
tune
scales
the
able
to
with
the
compete
Trumpet -Trombone -Tuba group.
flung wide the dungeon gates.
others
In
in
the
throughout
which
degrees
sound
setting
of
of
the
W. 14267.
did
not
orchestra,
viz.
point
flexibility,
short, the invention of valves
J.
composer at
whole of
the
the
liberty,
the
and
har-
loosened
all
fetters
and
52
The valve
4.
the
INSTRUMENTS.
BRASS
following
lowers
lengthening it,
in general use:
234
10 11
12 13 14 15 16
234
10
12 13 14
U -
|L
II
1st
piston depressed.
All notes lowered by
IV
23
78
10 11 12 13 14 15 16
-yp-?^-
a whole tone.
1st
rr~
Jo
a semitone.
III
15 16
t
li^-m.
,,
& 2nd
pistons depressed.
All notes lowered by
a tone and a half.
-_-.
"
/'
~~
1234
3rd piston depressed.
All notes lowered by
..
"'
i>
|
"
lo
t> .
10
11
12 13 14 15 16
*"
" H*
10
11
,,
,
.
j,,
(jK
8
,
\m
l>
12 13 14 15 16
* ^*
l"
h.. \J
p
"
^"
1"
VI
2nd 4 3rd or
(
piston depressed.
All notes lowered by 2*^ tones.
VII
1234
10
1234
10 11
VIII
IX
45
4l_h
16
it" #
10
11
12 13 14 15
'
\>m
hn
16
pistons depressed.
All notes lowered by 3^ tones.
15*
2d
23 456
& 4th
pistons depressed.
All notes lowered by 4 tones.
pistons depressed.
All notes lowered by 4^ tones.
1st
3rd
23
AU
10
11
12 13 14 15 16
10 11
12 13 14 15 16
L.
10
11
!>
^"
'"'
12 13 14 15 16
""
4 4th
pistons depressed.
notes lowered by 5^ tones.
123456
~
.
-*
3rd 4 4th
XII
14 15
I?*
rr
XI
12 13
"
, jt0
f
a
>-fllt
15 16
~'J'
t>
1st
12 13 14
11
(better) 4th
l>o
10 11
**^..
ETw
12 13 14
15 16
*" ^"
"
12 13 14 15
16
l"
1>*
^
1st
XIII
pistons depressed.
All notes lowered by an octave.
"
~
2
-
,,
.11^:
6^
* tr~
__
J.
W. 14267.
10
11
l~-
j?
*>
t~ r-
53
BRASS INSTRUMENTS.
Such
the
is
compass of five chromatic octaves, which might even be exceedmust add at once that no single performer is able to travel over
theoretical
ed upwards.
But we
extensive
such
ground;
the
most
cannot
skilful
half oc-
taves.
Excepting the Tuba, Contrabass -Tuba, Valve -Trombone, and a few Barytone Saxhorns, all the other instruments have only three valves, so that the number of combinations tabulated above
is reduced,
in their case, to seven
VI. VII.),
(I. II. III. IV. V.
5.
possible
only concern
mental.
6.
into
on the
instruments
at
Looking
three
the
to
corresponding
binations
the
used, and
little
natural
scale
of
descend
the
brass
11
12
funda-
the
to
instruments
fall
groups:
'fro
(*)
10
or
13
15
14
16
TV
(#)
In the orchestra of
to
Saxhorns. (See
P.
68,
6)
figures,
taking
as
Trumpet
in Bl basso
an
If
we now compare
standard
Cornet
the
key
the
of
B\>,
Bt
in
length
common
the
of
to
all
(in
B!>
C.-B Tuba
of
we get
_
_
basso)
the
following
them
length of tube
Trumpet *
Horn
tubes,
ft.
in.
ft.
5%
in.
17
ft.
in.
17
ft.
in.
modern
Trumpet.
So that Cornets correspond to 4 ft., Trumpets to 8 ft., and Horns and Contrabass -Tubas
to 16 ft. Organ stops.
However, in practice, things are somewhat different.
at
pretty
play
Trumpets, enclosed within the same limits,
much the same pitch, and in such a parallel fashion that, in many secondary orchestras,
without regard for the composer's intentions or the difference of timbre, the Cornet rethe latter being much more risky and dangerous to play.
places the trumpet,
In
reality,
Cornets
and
J.
W. 14267.
54
BRASS INSTRUMENTS.
The
7.
between
distance
the tube
the
lips
may cause
Take
this
theme:
of
The old
Trumpet
The Cornet
and
the
in
least
the
hesitation,
mistake
least
in
the
of
pressure
accidents.
will
B?
the
the subdivisions
rise,
play
making use
it,
will
harmonics 4 to 12:
the
of
notes,
making use
of
the harmonics
between
6:
(The notes marked with crosses could not be obtained but for the pistons.)
The
theme
produce this
to
perior
and
runs
or a
Cornet,
the
child's
the
high
We
8.
which
ought
sound
tube
its
of
emit
it
about
lips
the
size
and
shape
more or
less
easy emission
acting
efficiently
of
and
the
in
The
tube
its
of
the
of
is
Horn has
the
lowest
mouthpiece, which
length
special
the
Tuba,
length,
low?
quite as
the
Coll's
Horn, whose
the
of
Contra- bass
from
of
timbre,
it
the
same
especially,
power, no-
descending
fundamental tone, because
the
scales, shakes
intensity?
the
what
allow
to
su-
of
capable
chromatic
altogether
re-
(6)
have just
but
Trumpet,
is
it
dramatic
cannot
and
register, "diatonic
Cornet:
rapidity
will
.'
register,
bleness, and
an ease and
harmonics,
the
6^
2"d and 5* n or
the
articulation,
medium
this
for
play
of
lightness
In
Trumpet.
are
Clarinet
with
between
lie
is
answer
a slim
not
W. 14267.
Horn
the
that
cannot
In
figure
Besides, there
is
which
prevents
the question of
bear a suitable
required,
of
and elegant
register.
instruments.
J.
is
too narrow.
affects
also
that
to
The fundamental
notes.
the tube
mouthpiece
equal
tone
ratio
varying
can only
be
sounded
each other (Cavaille-
to
55
(ital.,
1:
is
It
from
only
the
Waldhorn.
Ger.,
historical
between
Horn
2 and
16
in Bl> basso.
view
of
point
Fr.,
can
that
Cor simple?)
mention
sound
hardly
Natural
the
notes
any
Horn, now-
the harmonics
but
inclusively.
*J
/?
(*)
^
2
"
^^
_ Ut
I"
li=
l>o
\
(
10
11
(-*)
^0-
12
13
14
15
16
Sounding:
Remark:
to use
two
Thanks
the
to
supplementary
fundamentals available
Horn
lowest
note
(about
in
obtainable
Bt>
Si;
C
D!
Dl|
Et
El]
"crooks',"
dozen
basso,
in
length
_
_
_
_
_
_
At
_
_
Bl>
is
the
harmonic
number)
not ridiculous
=,
<
being as
which
in.
16
ft.
10
in.
16
ft.
in.
15
ft.
in.
14
ft.
13
ft.
3%
6%
7^
12
ft.
in.
_
_
_
_
12
ft.
10
ft.
9%
in.
10
ft.
1%
in.
ft.
7%
in.
ft.
in.
ft.
4%
in.
alto
(*)
of
the Horn
ear.
J.
W.
14267.
in
B\>
may
be transposed,
follows:
ft.
tube
9
9
the
series
17
of
_
_
_
_
At)
it
clef alone
tubes, called
_
_
_
_
_
_
_
_
_
_
_
_
The
clefs to write
is
ou.t^ht;
in.
in.
in.
basso,
i.
e.
Bl
for
the
56
The
the
is
highest
Horn
in
Horn
the
of
(*1
in
the
half
off
cutting
bell,
ear.
10
^$*
horn -player
intervals, the
intermediate
the
get
the
for
(o)
in g=
To
e.
=2E
A.
2.
i.
A,
and
air,
flattening
the
inserts
notes
open
11
12
*E:
his
by a
hand
right
the
in
semitone:
10
Remark: As
der
to
The
to
dealing
The
notes
the
the
produced
inequalities
monic
plest
to
the
are
be
come across
resources
of tune
out
14
15
in our
16
scale,
speak
of
notes
open
valuable, on
very
will
the
of
them
account
at
are
greater
Muted
excellent.
the
of
length
in
color
of
variety
the
following
Valve-Horn.
by
met
two
of
which
at
conjunct
powerful
the
half
column
of
are
air
/(.._,
~
with
than
production:
3p
for
more
off
cutting
difficult
instrument
to
also
we
Very bad
is
each
below
are
stopped notes:
Such
are
13
them by "stopping."
obtained
notes
orchestra;
with
intonation, and
of
flatten
to
thus
overblown
impart
section
true
them, has
semitones
and
notes
they
utilize
12
11
the
classic
every
degrees
are
effects
masters
step, and
of
it
the
frequently
masterpieces.
Three
/7s
in D:
"
r
J.
W.
14267.
is
wrote;
breaks,
impossible
same
timbre.
obtained,
notes
deficiencies,
below
and
suffice for
the
7lb
and
har-
with
such
limited
57
used:
is
The
in
are
Valve -Horns
1.
the
indications
are
G)
in
F,
Horn
made
keys: E, Eb,
several
in
met with
be
to
Ger.,Ventilhorn.
at
every page
not so much
convenience
the
He writes
The
of
change
as
the
is
it
extends
to
Its
the
es
Cor a pistons)
Fr.,
but
D, etc.,
nowadays
F.
in
fop
Corno cromatico.
in
of
the
key)
to
D, in
in
E,
to
part
player's
from:
"
-Kir-
(actual sounds)
38 notes are perfectly homogeneous, and its compass, as will be observed, is much
same as that of the Bassoon, which, although it can descend a semitone lower, los-
by
with
comparison
Bassoon.
~y
TJF^P
2r
We may
Horn
the
an
notice
upper register:
i"
R.I*
Thin
here
the
in
Horn.
notes.
Good
between
appreciable difference
the
notes.
capabilities
two
the
of
instruments.
While the
compass
on
pianist
assume
instrument, and
his
the
keyboard,
cannot play satisfactorily
his
register, as
can
bassoon-player
of
he
according
shape
particular
both
at
the
to
extremities
register
what the
3.
To meet
the
now construct
cation
scend
in
the
two
3!^
of
Horns:
sufficing
piston
both
of
requirements
kinds
categories
ascending
enable
to
one
of
Horns
kind
Trombone
Tenor
our
in
pairs
the
of
which the
is
orchestras)
to
descending
rise
easily
the
and
Bass
instrument
horn -players,
and
to
lips
prac-
makers
easily.
N. B.
The 3*4 piston raises the whole scale of the ascending- Horns by one tone, and lowers the
scale of the descending- Horns to an equal extent.
The compass,
Ascending- Horn:
in
actual
sounds, of
r*^r
.-''
*)'
<j[''
-r*
Vff
~fl
Horns
N. B.
The
Gjt
marked with a
..
cross is
as follows:
+'
'
*)'
is
XT
Notes obtainable
in case of need.
cending Horn
^?r
Descending- Horn:
in
>
"
Complete chromatic
scale, including Gtt.
J.
w. 14^67.
s-
58
THE HORN.
Notation.
4~
.-
<* o-
-.
Valve -Horn.
Sounding:
\>*
As we have already observed (P. 55), the notation of the Horn in the F clef is an octave
too low.
Suppose, for instance, two Horns playing in the octave Y Z; if one be written
what is in unison for the ear will be in the
in the G
clef and the other in the F clef,
octave for the eye.
Why not make the F clef the natural continuTriumph of absurdity!
ation
In
G#
of
this
(DJt+)
the
clef?
chromatic
wanting
scale
on
the
i
Horn.
Sounding:
-*jr.
of
43
notes
ascending
none
Horn,
are
defective,
there
are no
and, with
the
exception
of
the
breaks:
Register
of
the
59
THE HORN.
Andante.
&
Flutes
Horns
Clar.
in F.
Violins.
Sicbuberth
&
of
of
J.
C?, Publishers-Proprietors.)
the
(Liszt, Faust.)
the
time
lowering
The
(1)
has
composer
simply
column
the
by
cross
Horns
in
air
of
several
a
of
ways
semitone.
indicating
these
overblown
>
v-
(Wagner, Tristan?)
p
(2)
or
the word
by
cuivre
notes:
placed
by
(in
(Gestopft.)
/i
..
Horns in E
/
(3) or by a
cross and
the word
(Wagner, Rheingold)
cuivre' (gestopft
*
Horns in
f}-.
+(Gestopft.)
(Me istersinger,
p. 225.)
sometimes happens that the word cuivre is accompanied by the indication piano.
that case, the note can be overblown at the moment of attack only;
immediately after
Horn.
attack, the tone becomes very subdued, like that of the muted
In
It
Horns in E
the
stopft.)
^=B=
-TT
AGestopft.)
The
duced
Horn can
with
the
be played
aid of the
can hardly
be
its
obtained
entire
compass.
below the
SfJJ
upper partial:
TT
Gestopft means simply "stopped;' but accompanied by an accent =-,or by the indication
understood in the sense of overblown.
1.
W. 14267.
or
sf,
it
is
60
THE HORN.
In
in
his
Requiem,
unison
)=_
gt^
Berlioz
t
the effect
an overblown
has written
still
beginning to
tolerably
being
come
into
the
(a semitone lower)
Fjf
good,
vogue, they
who
first
the
fop
two
extreme
Horns
but
this
were
still
is
limit.
When
by
need
to
as, for
give
instance,
directions;
special
any
these
were necessarily
overblown,
Faust:
in
a_
in
Ek
!:
Natural Horns
EE
in C.
Mcphisto.
a
les nuits
dii-u
d'amour
Strings.
Sometimes, as
fect
in
he desired
in
the
Damnation de Faust,
this
fit
to specify
the ef-
although
(Sons bouchcs)
parentheses,
^_
in C.
~*J
Natural Horns
in F.
Mephisto.
Rien qu'u
To sum
ourselves
in
up,
to the
order
to
avoid
two following
all
chance
formulae
Con Sordini
ne
si .
gna .
tu _ re
(Berlioz.)
of
misunderstanding, we must
all
pianissimo
in
future
confine
for
Cuivre' (with a
+) for
effects.
sometimes necessary, after these special effects, to indicate the precise moment when
is to come back to natural
sounds.
The word "open" (in French "ouvert,"
in
German "offen") is used for this purpose. (See Rheingold, Page 181).
It
is
the Horn
Speed of Articulation.
6
sive
its
in
making exclurapidly,
towards the higher part of its
triple articulation may be
articulate
but
(J = 104)
J.
W.
14267.
in
point of execution.
THE HORN.
medium
the
in
j = 12 )
(single
register
"
"
^s Lr
i
i
1i
Register of double
almost unlimited:
i-r-rrrf
IT T
"'
"I"
61
articulation):
'
_L-
.J
attained
is
...*
TV
3
on
in the production of high notes is hardly
the
Strain
the
involved
comHowever,
lips
It is prudent not to go beyond the 9tb or lOti?
harmonic,
patible with great speed of emission.
when making use of double and triple articulation.
Remark:
Length of Breath.
The following are the results
soloist:
Pe'nable, Concert- Colonne
7.
of
5 bars
II
*l :
'
'-"'
5
I
3
J mezzo
7 bars
"H
mf
medium
from the
register,
the
to
411}
8tl?
-A
partial
..'
'
-.
the
In
Mr
of
(J=120)
(J = 120)
assistance
-*-
forte.
metronomic rate of movement (J = 120), the human lungs allow of sustaining eleven barsj&rfe,
14 mezzo -forte, and 25 piano.
We must add that this can only be accomplished with the utmost effort, and would be
a dangerous experiment in the orchestra.
The production of the high notes, inasmuch as it involves great air-pressure, severely tasks
the lungs, so that such long holding-notes can hardly be expected above the 8t!? and 9t!? harmonics.
Shakes.
The pistons
8.
great
length,
are
the air
never used
cannot
for
travel
make use
enough
their
of
this
in
shakes;
fast
to
only.
lips
Major shakes come out well; (they are only possible from the 5th
and 15tb harmonics).
*%
shakes
are
in
which
>r
.-'"''
practicable:
Register
to the
best
upper partials
for
dangerous
Minor shakes
and are really
are better
the
do
of
avoided
majority
not
very
is:
of
in
orchestral
writing;
they are
suitable
and
12t!l
a "d
15ti!
players.
come out so
doubtful
==.
^--^^
13tb, 14ib,
12t!l,
Ii
...;:.';.'.'.'.'.
the
its
well;
with
possible
the hand
in
the
bell,
quality.
Crooks.
The Valve -Horn can change key as
Each key has a special crook, a hollow
The shorter the tube,
body of the Horn.
sound seems to come to the lips; in the
tween his teeth, so that it cannot escape.
9.
his
pencil,
which
he
holds
as the
end, the
He
for
is
very
W. 14267.
Natural
player
minute
as
feels
as sure
of
it
work.
if
he
held
it
tight be-
as the draughtsman
of
O(*
THE HORN.
performer has
the
if
So,
crooks:
Horn
to
Presto.
in At>
PP
Horn
in
AH
VK
'
<
very
play
makes use
he
high,
the
of
^i.
Al>,
Al),
and
B\>
fiHi
(Berlioz,
difficult.
^,
G,
F#,
La
reine Mab.)
ti
The
crook
crook
of
coil
single
the
to
corresponding
of
key
inferior
slightly
has two
8 inches
coils
and the
diameter,
in
crook
At|
the Al>
diameter,
a coil only Scinches
diameter.
in
How
in
the
for
harmonics,
Horn
Schumann venture
could
F
V4^
the
of
first
up to such giddy
write
to
4 Horns
his
in
"~
rehearse
too
!y
so much
are
in
it
great
the
afraid
orchestra,
of
that
it
Horn
in
because
or fear,
it
gradually nearer to
getting
altho'ugh
to
play
it
16*!)
straight
ahead,
without
it
any
feels
F
sempre
Schumann's
But
(69 Finale)
hesitation
is
never venture
will
they
4 Horns.)
Concerto that,
this
of
Concerto?
interesting
very
(Concerto for
Virtuosi
heights,
accel. e cresc.
(By kind permission of Schott
Concerto
far
is
more
&
C9, Publishers
dangerous;
there
Proprietors.)
is
ling-block.
10.
D, E,
In
F,
paragraph
we spoke
G, etc.),
rather
for
the
the indications
of
to
be
found
in
in
the
cases which
interest
of
we have just
in
the
no-
(9).
If
then,
voiding too
in
the
many
course
flats
piece, the composer thinks it necessary, for the sake of asharps, to change the key of the Horns, he may do so without
the means by which the change can be effected.
Take, for inof
or
in
F and
finishing
in
E.
Horns
in
it:
writing
i
in
i
The result
the
of
change
accustomed
the same; it is only a matter of determining the most favorable place for
it
is a mere question of neat
key;
appearance for the eye. Performers are
this sort of
The composer may
and
taken
are
never
exercise,
by surprise.
is
of
to
implicitly trust
to
them.
J.
w. 14267.
68
the
Horns
Four
11.
is
Horn-quartet
the volume
of
sound
is
more than
doubled.
Solo Horn moving softly through the Strings blends with them most harmoniously. It
one of Wagner's favorite devices.
When blended with the Celli and Double-basses, the Horn acquires a singulary penetrating quality of tone, which one might fancy to be that of a soft Trombone:
is
Moderate.
Solo.
Horns.
Violoncellos
Double-bass.
_,
_
(Liszt.)
The four Horns playing piano or forte can be heard through the whole mass of the orA Adagio.
4 Horns
chestra:
in E.
The
Horn and
Clarinet
in
unison
are exquisite:
dim.
(
(i.
In
very
the
choral
following
efficiently:
given
to
Hamelle, Editeur-Proprietaire.)
the
Brass, the
Solo
Adagio
sostenuto.
15*
Horn
in F.
$--->
Trombones.
Tuba.
P^
C. Franck , Symphonie.)
^=*=
Horn
doubles
the
first
Trombone
64
THE HORN.
but
two
following combination
so often used since, is very
of
The
even
admirably:
and
Clarinets
in
quality,
Clarinets in
Horns in
.^i
J-
Andaniino.
B!>.
El>.
Strings.
(Flauto Magical)
The
next
behind
leave
morn to the
eye:
Allegretto
inEl>
Horns
<
in B!
Strings.
Note
notes
also
the
of
this
charming
Strings and
of Heu^el ut
effect
the
of
C(, Kditeurs
Horns and
the
rhythmically
ProprieUires)
accompanied
Flutes,
recurring
of
figure
by
the
holding-
the Harp:
Flutes.
Horn
in G.
Harp.
Strings.
In
Horns
chord
at
the
played
extreme
by
all
end
of
wind
the
of
A.Dunnd
Fils,
Kditeurs-Proprietaires.)
instruments
diminuendo,
J.
W.
together,
to
14267.
give
the
nothing
THE HORN.
65
Flutes.
Oboes.
3 Clar. in
B\>.
Horns in F.
Bassoons.
3 Trumpets in
F.
3 Trombones.
(Wagner, Siegfried.)
(By kind permission
of
Schott
&
Remark: When the Horns are written in four parts, the bass is naturally obliged to expend
more wind than the other parts, and to take breath oftener, being at the same time less sonorous.
It is better, when sustained notes are needed,
to make use of the Bassoon, which is
less fatiguing for the player and forms a more solid basis to the harmonic group:
1*1
Tranqvillo.
Horns
in F.
Bassoons.
of Schott
&
C9, Publishers-Proprietors.)
2nd Remark:
12.
AUTHORS AND WORKS TO BE STUDIED:
Mozart (Quintet);
Beethoven (Sonata,
Schumann (Concerto); Brahms (Trio);
Quintet, Sextet and Septet); Schubert (Octet)}
Saint -Saens (Romance);
Friedr.
Gumbert (Solobuch
Dauprat, Gallay, Mohr (Schools);
all
Weber,
all
Mozart,
Beethoven
Wagner, and
all
the
J.
to
double
B\>
in
the
9th
Sym-
66
We
1.
allow
with
the
low
have
seen
already
Trumpet
E (actual
to
sound
Tromba.
(P. 51,
its
2)
has
Manfred, Schumann
ually
transfer
Flute.
from
Allegro.
|
>
tone,
narrow
its
diameter
scale
in
the
of
its
practice
tube would
only
not
beginning
j>m
fL.
note
this
the
Fr, Trompette.}
_^
pitch):
nearly
that
fundamental
Average compass:
This
Ger., Trompete.
intimidated
*Tj
r-^-8
Trumpet
the
to
of
but
1^l
the
instrument.
In
*LJ"
k^
^Tr
*>
TI
TV
3=
^
4
T
&
9^
a-"'"*
3
_
rj
in Ak.
t>o
Sounding:
67
68
THE TRUMPET.
THE TRUMPET.
Remark:
The Trumpet
in
(#)
is
works;
it
in
Compared with
sounds
almost
is
l~~
to
what need
tf
there
as the
old
in
Trumpet
so
for
(actual sounds.)
]*
(in
or
little
modern Trumpet
of
that
and
exceptionally
quite
is
necessities).
-i
so
this
like
in a
ff that
it
is quite
exceptionalin alt (actual pitch) in Parsifal.
he sends the F Trumpet up to BP (act-
high notes;
li
F
in
Trumpet
ff*
(By kind permission
However, the
the
high
basso;
Et>
of
it
when
Manfred,
to
Ei>
play
the
2!
C,
in
of
it
but
have
to-day
even
B?, have
(actual
the
all
all
for
performers
register.
Rf
of Schott
so
pitch),
that
enormous
following
Tuning-Slide.
the
Trumpets
of
pair,
the
in
compass:
..--"''Natural
Scale.
in C.
TY
Trumpets:
(Actual
-in
Remark:
is
not used
for
Articulation
8.
and
Like the
triple
Trumpet
in
is
of
capable
three
of
kinds
great
of
rapidity
E.
(J :
Trumpets
makes use
it
Sounds.)
.....--"Natural Scale.
Tuning-Slide.
2
of
HeuKl
et CIS,
Editeurs-PropriMairts.)
(l)elibes, Sylvia?)
88)
in D.
Flutes.
Oboes.
Clarinets
Bassoons.
(Berlioz,
Menuet des
p.
J.
W, 14267.
259.
Follets.)
THE TRUMPET.
70
(J
Presto.
Trumpets
160)
in E.
\^f
^L^
et CIS,
,1
^^
f
^JL^
Editeurs-Proprietaires.) (L/alo,
Le Rot
d'Ys.)
Andantino.
Solo
(Meyerbeer,
Trumpet
in
Trombones.
Violins.
Basses.
(By kind permission
The
are
following
(J =
120) ^{k-ft
(J =
144)
about
1~~
of C.F.Peters,
Editeur
maximum speeds
the
:^~~~~
(Wanner,
Proprie'tMre.)
attainable
in
the
the
fatigue
^_j~~~
long, on
account
of
of emission and
Length of Breath.
9-
bars
Piano,
the
in
the
low
Trumpet
can,
with
the
same rate
It
is
the
needless
holding -note
67
&
of
movement,
can
it
hold
note
in
the
of
or
TVTTTrTYTTTTT*
bars:
medium
?
register for 12
(J
then
8_ _*
p^f
or 14
tempo, sound a
register:
J?
and
moderate
in
to
expenditure
120)
observe
of
that
breath
is
numbers
these
doubled.
J.
W. 14267.
are
halved
in
forte passages,
because
THE TRUMPET.
71
Shakes.
We
10.
the
have
Trumpet,
The
seen that
the
Horn
does
is
it
following
it
be
not
can
used:
(the cross
for shakes.
With
cross im-
possible).
18
14
15
16
17
possible.
C)|
somewhat sharp.
18
19
20
21
difficult,
OlO
10
difficult
very
difficult.
HltpOf:
and
unsatisfactory.
11
12
24
Impossible
beyond
Muted Trumpets.
Neither
11.
them
they
into
are
Beethoven
nor
of
muted Trumpets.
_...
.,
Allegro.
(mit Dampier.)
^
.
Trumpet
in
Bk
Violins.
..|WH1
^
1
Basses.
(And Wagner
]'']'
[iV^rM^ll^V^IT^'^'^'vlJVj*
blow very
(Meistersinger,
hard).
14267
p.
&
460.)
THE TRUMPET.
There
is
no modern
Strauss,
Vincent
following
exquisite
composer
who
does not
d' Indy,
use
Bruneau, Debussy.
of muted Trumpets:
Richard
use the Trumpet con sordino:
will
abound:
only quote the
Examples
I
Flutes.
Clarinets in A.
Horn
in
Trumpets
F.
in
(muted)
Triangle.
Celesta.
Harp.
15*
"
Violins.
Violins.
PPP
The
an
articulations
of
the
et Clf,
Editeurs-Proprietaires.)
(Charpentier,
Louise.)
J.
W. t4J267.
73
THE
The
12.
tone
of
quality
BASS
Bass
the
of
TRUMPET.
Trumpet
is
admirably
rich,
full,
to
tube
Its
is
ft.
writes
Wagner
8^
in.
in
it
long.
El>, D,
&
C:
Written:
~S
10
11
10
12
14
13"
12
11
15
13
ktv
**~^
--
34567
a
/c
whatever
posing
when
"
the
key
necessary),
indicated
Bass
by
the
in
11
17
18
19
**
fr-
17
18
19
12
13
__i
1
~
.
h* *>"
diT^o""!^o
H"
t>
it" -**
it
Trumpets
in El-
mp*
f *j
10
12
11
composer,
D
Et> and
Bass Trumpet
"
16
Im im
15
krrr
14
16
15
it
13
is
not
14
15
always
being
16
Avoid
though
'
17
played
18
in
20
19
(trans-
made.
Sounding:
'
Ij.
Sounding:
-JF
j>
Bass Trumpet
in
20"
C
3
but,
10
_,
-^ty-vr
in
19
3456
in
Sounding
18
14
-brr
1?5~T7
Sounding an
octave lower.
falling
F,
as
low
semitone
as the
above,
3fj!
is
partial,
possible
J.
or
and
rising
higher
tolerably
W. 14267.
than
sonorous.
E,
the
20tt>
partial,
74
13.
as
the
instrument
"Lately, an
blem;
be
to
the
raised
that
assembly
octave
an
Where
How
ft.
is
than
this
Bi>,
D.
At
preserved
time
of
little
been
meeting
the
it
a question
merely
specialists
"The
of
radical
Soprano
ployment
his
the
been
of
the
of
by
able
was due
to
Trumpet
Soprano
So
one
would
it
can
slide,
before
notes
of
pro-
an
sounding
Trumpets!'
been
have
should
of
&
Breitkopf
discovered,
and
Trumpets
employed, as
use?
current
in
formerly
kinds
all
the
it
played
emission
agreeable
solves
a tuning
of
Rosleck
Berlin,
ordinary
mouthpiece
although
Trombones
from
we
the
Eichborn
supposed
by
and the majority of
Ha'rtel)
is
consult?
by
scientific
to
their
mouthpieces, whose
various
in
and
easy
specimen
single
made
mistake
Trumpets
of
lips,
have
far
Was
Trumpet.
Heidelberg, which
at
held
C?
in
instrument
the
specimens
onwards?
and
(as
manner dif-
their
prehistoric
has
numerous
Charles
Bach
curiosity
them,
imitating
almost
their
made
been
produced
Is
this
only
about
Trumpet
has
admired
those
Trumpet?
that
it
it
in
unanimously
have
Was
of
key
of
of
style.
discovery
long,
idea
the
out
musicales:
Curiosites
higher
is
our
to
with
more
read
be
since
published
Everything
should
information
little
important
tube
than
modern
our
analogous
Deldevez's
in
age
from
we have
Technically,
masters
illustrious
concerned)
is
Trumpet
altogether
fering
an
iwo
These
Handel.
men consists
tube
very
obliged
exclusively
to
the
to
player
having
bore
that
thinking
was due
it
No,
narrow
in
the
the
em-
contract
ordinary
Trumpet'.'
The
truth
is
for
practised
inaccessible.
its
own
The
Beethoven,
to
in
employment
a
limited
we must
Besides,
of
part
note
very
that
narrow
the
of
scale
Bach's
mouthpiece enables
reach
to
Soprano
heights
hardly
ever
lips
generally
plays
specially
deemed
outside
of
octave.
Trumpet
Weber,
begins
with
Wagner, and
Haydn
Berlioz,
and
the
Mozart,
neither
too
high
imperious
nor
too
two octaves
low:
from
G:
This
is
Perfect
ought
the
playing
special
real
that
the
ancient
Consonances,
to
Trumpet,
the
Fifth
the
and
oldest
instrument
the Octave.
It
write.
J.
14267.
in
is
for
the
this
kind
of
Trumpet that we
75
Ger., Kornett.
Fr.,
Cornet a pistons)
For nearly half a century, in French, Belgian, and Italian orchestras, the Cornet a
This was due to the fact
Pistons took the place of the Trumpet, gradually ousting it.
that the Cornet was easier to play, requiring less talent and artistic intelligence. Trum1.
pet
virtuosi
were
cornet -players
while
rarer,
be met
to
with
every-
where.
Although the timbre of the two instruments could not for one moment be compared,
the
same
the one being thick and vulgar,
the other noble and brilliant, as they had
of
so
the
worse
in
tone
was
much
sensithe
difference
for
ignored;
compass,
quality
ears!
tive
However, since the invention of the little modern Trumpet, which can rise as easily as
Cornet, makes use of the same harmonic series, and is not much more risky in its
the
Cornet
the
emission,
Cornets
are
in
little
Trumpets
the same C in
has gradually
tuned
B;>
in
B? and
and
A:
and
A,
the
the
before
retreated
their
length of
scale, which
their
reinstated
starts
tube
Trumpet.
same as
the
is
Fjl,
that
of
rises
to
alt.-
Cornet
in
Bt>
length of tube
ft.
in.
ft.
in.
Compass:
Need we again
highest
ful
the
or
the
of
quality
call
lowest
to
notes
brass
first
weakness and
creasing
attention
of
good register.
becomes thinner.
S:
and
is
dangerous
surer
cadence
notes
the
like
to
attack
precede
these
them
following, for
the
with
extreme
danger
some
without
degrees
is
except
difficulty,
obviated.
B!>
preparation,
Nothing
but
when
easier
is
more
frequent than a
(2!
upper
instance:
Cornet in Bt
Cornets
same possible
gle,
double, and
mouthpiece,
it
tonguing. Still
can perform the wildest
triple
instrument
the
same
Like
the
more
lie
between
mechanism,
Trumpet,
the
the
same
Cornet
partial
capabilities,
makes use
the
of sin-
W.
14267.
76
THE CORNET.
"But
ondary
technical
its
forms
instrument."
art
of
See
military
Alex.
However, we must
and
says
resources,"
Luigini's
not
forget
used
their
and
Gevaert,
Cornets
best
the
where
it
is
Gounod,
Meyerbeer,
in
the
orchestra.
Trumpets
the West of Europe wrote for 2
rendered;
instead of
contemporaries
Till
within the last few years, composers in
is
only quite recently
pets and 2 Cornets, and it
into
to
Caprice.
interesting
services
"show
bands
brass
Berlioz,
that
Trumpets
have
Bizet,
Trum-
come
again
vogue.
Allegro.
a 2.
Trumpets
in B'.
Cornets in
E\>.
Trombones.
gs
_C_fr!
HE
(Kerlio/,
L'Enfance du Christ^}
Andante.
Orchestra.
Cornets in At.
Trumpets
fit^
in E\>.
Trombones.
Ophicleide.
Hy-
-j>
*'
--
(Meyerbeer, Le Propkete.)
Allegretto.
Flutes.
(Orchestra).
3
Cornets in
B\>.
a J iyi
P
JJJJ JJJ
Bassoons.
Triangle.
(Gounod, Faust)
i.
W.
14267.
77
THE CORNET.
Moderate.
Trumpets
A.
in
J?
Cornets in A.
"Jl V
ff
3E=
Trombones.
Orchestra
fl
I'Arlesienne.)
(Chondena, Editeur- Propriotaire.)
Flutes.
(Orchestra)
Trumpets in
E.
Cornets in A.
/I
Pizz.
Orchestra.
^=!
3E$
5fe
Violins.
I
ff
T^r^r
Trombones.
(By kind permission of Heugel
At
ing
present, Cornets
their
place,
thus
are
gradually
resuming
disappearing
their
legitimate
J.
W.
from
the
position.
14267.
orchestra, and
78
THE TROMBONES.
(ital.,
1.
Bach,
bones
Mozart, and
Tenor, and Bass.
now become
most
a duplicate
that
of
his
(in
to that
of
because
its
timbre, akin
admirable
its
Posaunen.
Get.,
Beethoven
Gluck,
Alto,
Despite
Tromboni.
Fr.,
Trombones)
youth)
the
wrote
always
in
Trumpet
the
F,
for
Trom-
Trombone
Alto
al -
is
it
has
instrument.
magnificent
Alto Trombone:
Trombone
Trumpet and
the
section,
in
necessary
so
indispensable
In
with
last
the
played
Its
Trumpet.
from taking
it
soprano
kind
conjunct
the
quartet
part
in
part
produce
in
any
the
brass
It
but
was
higher
Trumpets,
started
the
not
is
it
the
the
but
"//
in
connection
never
instruments,
unknown.
almost
nowadays
the
were,
two
than
theories
notes
polyphony.
of
it
the
If
Trumpets.
mentioned
to
inability
high Trombone
of
13)
Bach's
vented
else
the
four
or
more
had
never
we have three
now that
as
section
of yore, which
orchestras
the
complete
lower
the
latter
was
Trumpet
that
Cornetto, or
a characteris-
German custom,
So, the
an
indispensable
The
old
minor.
on
Cornetto
one
and
voice
formula
the
never
Trombones
robust
this
Alto,
were
exceeding
remained
the
adopted
the
grouped
together,
became
and
the
the
Symphony
Alto
quartet.
Tenor, Bass
Beethoven
Afterwards,
staff,
in
limits
of
in
system of
Tenor
the
force
till
writing
two
the
Trombones,
and
first
in
Trombones
Weber
and
his
successors
3.
Its
Compass:
mechanism
displaces
the
Trombone tenore.
35
is
Get.,
notes,
from
simple;
the
slide,
harmonic
series
each
Tenorposaune.
=
which
time
J.
by
Trombone
tenor.)
to
can
a
Fr.,
be
drawn out
semitone.
W: 14267.
to
seven different
lengths,
THE TROMBONES.
&*"*
,.
66789
84
=_
10
79
IS* Position.
The instrument is, so to speak, closed,
the tubes fitting into each other. The
fundamental tone, termed pedal-note, is
practicable.
ii
IV
ip
ro
-n
to
56
fundamental tone
10
The
"? lengthening of the slide.
fundamental is no longer so practicable
10
The
lengthening of the slide.
fundamental is still less practicable.
10
The
lengthening of the slide.
fundamental tone cannot be sounded.
three
is
practicable.
Position.
4th
>
:
j|o
^
56 78
the
complete
scale, with
7M
fr*
Position.
The
lengthening of the slide.
fundamental tone cannot be sounded.
6ti?
10
indications
As
note.
said
10
* Position.
The
lengthening of the slide.
fundamental tone cannot be sounded.
sth
will
be
positions:
VII VI
V IV
VII VI V IV III
VII VI
VII VI
V IV
VII VI
VII VI
oflo
IV
III II
VII VI
V IV
This
but good
and
is
above,
possible, avoid
therefore
which
III II
III II
V IV
V IV III
III II
II
II
III II
jt"
(*)
When
The
10
3ld
66
5 th
^
is
Here
Position.
of the slide.
?*
lt lengthening
86789
VII
I**
HW3
3
VI
56
234
B!>j-
284
in
can
the
onl_y
the
most
be
7*1]
Bli
is
when held
which
position,
difficult
of
all,
produced
in
this
J.
requires the
the
two
notes
position, are
W. 14267.
maximum
Double
the
worst
E + and
B+
fifth
on the instrument.
80
THE TROMBONES.
The
4.
Trombone:
and
the
It
is
in
in
the
P.
both
case of
the
low register,
as
after
will
F,
E:
As a matter
B!<
on
evident
performer
notes: G,
made
remark
that,
find
.V
of
Clef:
it
the
57 (2), concerning
lips
to
cannot
sounded
descend
play
both
in
the
81I 1
without
Horn, applies
have
instruments, performers
having
difficult
the
to
choose
registers
9 til, and
mistake
or
equally
with
10*1?
to
the
ease.
upper partials,
hesitation
to
the
the
low
fact, the
really
sonorous
register
is
comprised
81
THE TROMBONES.
Length of Breath.
The amount
6.
the
is
performer
wind
of
take
to
obliged
to
required
breath
Trombone
the
play
almost
at
every
so great
is
that
in
forte
note:
Andante maestoso.
a O.
ir
i=i
Wagner, in this case, does not take the trouble to mark the breathing-places, for he
knows that the performers will take breath everywhere;
on the other hand, he carefully marks the legato
passages, and, to preclude the shortening of the last note of
each
legato
twelve
In
pence
indicate
values"
and
for
of
the
is
curtailed
When
over
the
little
the
the
note
let
Violin
he
the
the
at
wishes
marks
bow
slide,
to
each
and
same
time,
that, too,
so
have the
full
but
to
slurs,
means: "let
be uninterrupted!'
way; when able
the
note,
to
no
which
sostenuto,
passage:
notes;
shilling,
want
legato
bar
in
do
the
ihe
of
length
not
timein
bars
the
is
second
as possible.
legato
Trombone proceeds in the same
passages), it can play legato as well
of
play
notes marked
t" e
The
gives
give you
a quaver."
writes' above
linking
"if
don't
me
of
note.
of
system
Trombone)
he
Chorus!
breath
as
every
used to say,
'Pilgrims'
but
accent
meaning
over
crotchet,
Wagner, "let
that
accent
write a
punctuation,
says
Z show
an
my money" Gounod
the
of
crotchet
This
places
if
back;
theme
the
he
group,
me change
'Give
the
as
any
other
Tenor
Tromb.
of the
tone-power
instrument,
mistake,
prevent any
there be no intermittence
to
economize
instrument;
sostenuto assai.
an
breath
just
articulation
as
to
(in
the
each
he
in
the
Piano
violinist
motion
THE TROMBONES.
his
of
the
Have
Larghetto, "hermetically"
placed
transition,
following
slurred
the
by
Schumann
by
the
at
end
performers?
Trombones.
Bassoons.
(Symphony in
Schumann sometimes uses the Alto Clef
Remark:
two
for his
first
3d
Alto
like
(J
54)
--
in
l?l>.)
Trombones,
Symphony
J^T^
which he
and in the
rau
Horns
in
PP
Trombones.
**
"
M-
Bassoons.
f
Note
extreme
the
lip
-tension
required
to
sound
the
high
El>
of the
Horn
and Trom-
in
our modern
bone.
This
is
orchestras,
certainly
we have players
the
Trombone,
ware of the
breathe
freely
Let
us be
7.
In
ferent
with
15*
the
not
public
danger,
when
careful
feel
the
it
is
the Trombone
example
skilful
even
so
thrill
difficulty
not
preceding
positions;
net, etc.,
a striking
to write
paragraph,
of
dangerous
to
sound
this
enough
much as suspecting
of
has
suspense at the
been overcome.
Yet,
composition.
very
Ei>
the
on
harmoniously
difficulty,
beginning
of
but
the
their
Tenor
professionals, a-
piece,
and
only
so high.
referred
to
to
only
add
hardly necessary
can emit a succession
that,
of
slurs
between
like
the Horn,
harmonics
having
Position:
Oth
J.
W.
14267.
Position:
notes
83
THE TROMBONES.
This
8.
breath
at
which
instrument,
every note,
is
is
short-winded
so
in
remarkable,
piano
in
forte
passages,
passages,
for
its
astonishing
sustaining-
power:
Moderate.
Violins.
Violas.
Trombones.
Violoncello
Double-bass.
marcato.
(By kind permission
Through eight
giving
ing
its
long
cf Sehott
&
C9, Puhlishers-Proprietors.)
without
respective notes quietly, and
then the sound vanishes like mist, without our so much as notic-
Trombones hold
bars, the
their
Articulation.
9.
It
becomes.
is
that of the
like
evidently
that the
to
difficult
sound
in.
long, like
anything
that
looked
like
bravura
effect.
are not
afraid
of
much
ages,
well,
livelier
on
While
and
(F).
ain-
Beethoven
the
modern
movement, or even of prolonged florid passcondition they are written in the sonorous medium re-
rates of
gister:
Allegro.
Mephistopheles suddenly
appearing.
(88
J)
(Marche Hongroise.)
a 3.
J.
W.
14267.
THE TROMBONES.
No one would
formerly
ddmmerung:
have
of
thought
using
the
following
Allegro.
Tromb.
Or these, from
of Schott
Parsifal:
y
T*y
(The low
(138
&
G+
of Schott
difficult to repeat.)
is
& C9,
Publishers -Proprietors.)
a 2.
i
(By kind permission
3^
>ires.v
of HeuRtl et C!f, Editeurs-Proprietaires.)
Violins.
Tromb.
^^
(By kind permission
>,.
*
'
The performers of to-day look upon these passages as mere child's play.
ask them for Mozart's long susBut set them to play the Scene of the Commander
collect
their
to
tained tones; you will see them shake their heads and beg for time
strength,
and
indeed
they
have
need
of
it
all:
Andante.
Violins.
4-
Trombones.
P
Violoncellos.
Double-basses.
it
fp
ta:
^
J.
W.
14X67.
THE TROMBONES.
85
(Don Giovanni}
The
matic
whole
than
or anything
scene
the
more
should
Trombones
Allegro.
Orchestra.
Trombones.
Remark:
The low Et
(*)
is
possible
on the Bass
the part.
J.
W. 14267.
86
THE TROMBONES.
Shakes.
impossible with the slide; they can only be produced by the lips: the
stand
between degrees of the scale which
one tone
in
are
ones
only practicable
apart
the harmonic series, i. e. when the 71!), 8*1?, and 9il? partials can be employed.
Shakes are
10.
34587
In
the only
reality,
possible
(l?t Position.)
10
(the
positions
being
indicated):
\f^T
IV
VI
VII
III
II
as
from
the
Tempo di marcia.
Trombones.
Side Drum.
Kettle-drum.
and
to
wind up:
3 Tromb. -^fc-]
One would
Astounding effect!
cracker tied to its
not
is
It
and
likely
have
with
than
a
the
shake,
This
11
the
Trumpet;
read
all
the
scores
since
published
as poor as that of the
but all the masters
have
Trumpet,
written for both
each
one
them
in
his
own
and
it
is
instruments,
treating
personal manner,
these various manners which must be studied.
The brass instruments of Bach and
Handel are written very high;
those of Mozart,
Schumann's sometimes too high, sometimes too
Beethoven, Weber, in their true register;
literature
of
the
Trombone
is
low;
Wagner's
low
usually
in
the
rich
medium
register, but
not
pets,
We
a secret
register
young
without
experience acquired
ors.
J.
W. 14267.
by
predecess-
87
(ital.,
12.
Tenor
the
is
It
^'
Ifcl*
Trombone
5*
Get., Bassposaune.
22*
^3^
--84578
456
fc>
5**
5E
lower.
Position.
l$t JTVSlllUn.
6
basse.)
Jli."
j|
~J'
Trombone
bii.
t) :
FT.,
TT
a fourth
transposed
Z^
4^
"
EE
basso.
Position.
78
(HF)
i
TV
V
A
h--
ii-
*>:
TV
C-*)
-
i^
1,^
b<1
"""
345678
1>"
5^* Position.
Fundamental tone impossible.
[>TT
11
"
4j):
Position.
7 *~ Position
Fundamental tone impossible.
-
VII
1=*7
2
Trombone
The Bass
and
special
Its
is
with
the
as
admirable
to
but
tone,
to
difficult
play,
lips.
compass
has
that
All
is
as
follows:
3
FFy
been
restrictions,
other referring to
the Tenor
the
first
the
difficulty
concerning
>J
about
said
two
Trombone
experienced
in
equally
applies
slowness
the
of
speech
producing
the
to the
of
Bass
a tube 12
pedal- notes
Trombone,
ft.
long,
(fundamental
tones).
If
the Tenor
Double
Trombone
V
of
Bass
the
Not
indulge
than
Et
in
too
"f
barely
the
sound
lower
as
notes
Double
and
but
not
coming out,
still
B:>
Trombone be obtained:
have
only
can
the
free
great
use
masters
of
the
^^
J.
W.
14X67.
THE TROMBONES.
for
Take,
in
dulges
Once
only
the
instance,
score of
Tristan-, do you
know how
Bi?
+
(P.
76), and
just
see whether
he
tires the
note:
Oboes.
Clarinets in Kb.
W^
ff
dim.
/f
dim.
Cor Anglais.
Jf
Horns in
in-
F.
cresc.
Bassoons.
cresc.
Tenor.
cresc.
Trombones.
Bass.
e"
I"
9
fe
&
cresc.
Violins.
cresc.
cresc.
Violas.
Basses.
J.
W.
14267.
</'.
89
exquisite
the
Bass Trombone
holding-note +
descend to
Ei>
250)
is
pianissimo
(P.
of
the
cases
in
the
fol-
question:
dolce.
-l/yfj|if{L
Flutes.
Harp.
(By kind
permissiaD of Breitkopf
Twice he writes D:
Andante.
Tromb.
PP
W
(p.
Ten
242)
&
Hrti-l, Editeurs-Proprletalres.)
THE TROMBONES.
So
than
the
that
whole
And when
EVs.
and
El>,
it
this
of
is
score
question
contains at
of
holding- notes,
Wagner
employs
lower
anything
always piano.
One
act
of
the
rare
but
of
Orchestra.
Ten.
Trombones.
Bass.
Tuba.
of Scbott
&
CP,
dim.
Publishers-Proprietors.)
its
first
Cello,
position,
*}
or,
its
is
an octave
below
the
Tenor Trombone,
like
the
Double
bass
91
THE SAXHORNS.
separate group of absolutely different timbre from the other brass
like
that
struments, the tube of the Saxhorns being conical, instead of cylindrical
and
Trombones.
Trumpets
This
1.
is
we enquire
If
gotten
The
family
the
into
of
Keyed
consists
group
it
for-
Ophicleides.
instruments:
Small
Saxhorn, or
Sopranino
we can trace
Saxhorns,
of
and
seven
of
the
of
origin
Horns
in-
in
Bugle
Soprano
or
Bugle
Alto
or
Alto
Barytone
or
Barytone
OP
Tuba
Bt
in
in
Ei>
El?
B!>
in
(*)
Bass
(*)
Bl> (or
in
Deep Bass
or
Bombardon
Double Bass
or
Contrabass -Tuba
the
has
Tuba, which
in
four or even
C)
in
El (or
in
Bl>
in
five
pistons,
number
Except
are
F)
all
of
the
members
of
this
making use
pistons,
family
of the
same
of the tubes,
unnecessary to enlarge upon the differences in the dimensions
1
increaswith the
of a Bugle 4 ft. S ^ in. long, compared
of
emission
facility
upon
which
is
Tuba
in
17
in. long,
Contrabassft.
8
of
the
notes
the
lowest
Bl>,
ing heaviness of
not
effects
are
and
bravura
or to repeat that, at such depths, speech becomes slow
It
is
the
be
to
expected.
3.
It
would
be
homogeneous mass,
mellow background
It
would
what
is
spectively
The
serve
Wagner
in
total
well
admit
to
with
total
for
the
as a
foil
intended
E? and
B\>),
of
compass
Saxhorn
the
of
compass
brilliant
rather
as
an
when he conceived
which
are
the group
8.
is
five
flourishes
than
into
group
octaves,
of
our orchestra.
would
the Trumpets
element
of
nothing but
as follows:
modified
and
and
Alto
This
perfectly
firm
and
Trombones.
and
combination
Tenor -Tuben
his
serve as
with them.
This
Bass-Tuben
(re-
Bass
Saxhorns.
(Little Bugle.)
(Contrabass -Tuba.)
The
for
Saxhorns
they
are
make use
made
of
of
neither
brass;
their
length
tuning -slides
J.
nor
W.
is
invariable,
crooks.
142&7.
i.
e.
92
THE SAXHORNS.
SOPRANINO SAXHORN.
(LITTLE BUGLE IN
E!>)
4.
'
Compass:
Es:
Fliigelhorn piccolo in
German:
In
/jC
sounding:
!)*
T"
This
a very
is
the
in
ful
where
it
shrill
high,
instrument,
unless
some
for
orchestra,
the Sopranino
ters:
Low
'
the
but
are
following
it
is not
execution;
very usesuitable
for
bands,
military
the limits of its various regis-
great
effect,
special
part;
plays
of
capable
register.
Good
High
register.
?.
?
register.
ly
The notes
are
the
of
high
and
dangerous
very
it
paration;
has to be
register,
Even
difficult.
led
to
up
by
seme
or
scale
te
semitones
last
high
three
the
especially
cannot
kind
of
be
figure:
sounding:
It
is
like
played
Cornet a
same mechanism,
triple articulation.
has the
it
Pistons;
points
bravura
to
the
fact
that
is
it
the
Piccolo
It
Cornet,
one:
the
of
the
family;
is
it
not
melodic
but
instrument.
SOPRANO SAXHORN.
(BUGLE IN
5.
In
German:
Fliigelhorn
Compass: A.
_..
in
fit)
B:
sounding:
This is an instrument
with a soft, mellow, poetic timbre, and is less vulgar than the
more
than
has hardly been employed
It
Cornet, to which it corresponds in compass.
once in the
and
even
Cornet
le
then
its
is
the
{Robert
orchestra,
usually played by
part
As
its
compass
nothing special
dentical.
to
it
is
and
note
true, Meyerbeer,
mechanism
about
the
being
exactly
Bugle,
dead,
is
to
correspond
the
unable
to
protest.
those
of
the
capabilities
of
both
Cornet, there
instruments being
=fe
Excellent
(Hardly practicable.)
register.
j
J.
W.
14267.
Hi h register.
is
i-
93
THE SAXHORNS.
is
F||
not
dangerous,
Remark:
but
the
of
the
that
to
inferior
two
octaves
following
which
Cornet,
are
and
excellent,
instrument
latter
is
Except F|, the low notes are of much better quality and purer of intonation than on
Cornet.
the
Bugles in
Bl>.
sounding:
strument, and
of
Although capable
ought
an
in-
expressive
ALTO SAXHORN.
(ALTO IN
6.
Althorn
German:
In
Es:
in
Compass:
This
is
It
^ sounding:
inferior
the
of
part
the
considerable
with
articulates
~^^
but
instrument, which does not play as a soloist,
usually
to
the
instruments.
background
polyphonic
and Barytone Saxhorns. However, it
connecting link between the
Soprano
a rather
is
forms
E\>)
Low
and
ease
can
note
hold
register.
Register of
best quality.
is
It
or
Alto
It
octave
the
in
are
in E\>.
hand
at
lower than
make up
to
A
for
High
==,
its
register.
other instruments
unless
defective
in
unison
quality.
I*
a background
is
descend
to
imprudent
some time.
for
a kind
instrument,
of
orchestral
padding.
BARYTONE SAXHORN.
(BARYTONE IN
7.
Tenorhorn in B,
German;
Jn
Compass: =OK^
~
This
is
the great
emitting
ft.
is
of
being
the
Bugle
written
like
the
Barytone in
Bl>.
n-
and
able
some
difficulty
while
Bass -Fliigelhorn:
t
sounding:
without
stop,
li
^s^
.,''
advantage
or
st)
attractive
descend
to
with
high notes.
to an 8 ft.
pretty
corresponds
Cornet, but sounds
f
instrument
fr j
J.
an
relative
In
the
ease,
reality
it
stop.
octave
sounding:
W. 14JJ67.
than
lower.
**
tt
Alto, and
at
the
a)
possesses
time
same
corresponds
to
16
THE SAXHORNS.
;--
High
i
:
Low
register.
Medium.
register.
Excellent register.
All this compass practicable
u^; '*
'"_...-''
of course, gradually
become thinner in quality, the
Apart from the highest notes, which,
whole of its compass, and in particular the medium, has a full, soft, rich tone, reof very satisfactory execution.
Like
It
that of the Horn.
is, besides, capable
calling
better adapted for
melodic
than
the Bugle, the Barytone is an expressive instrument,
for
florid
passages.
most
the
is
It
instrument
perfect
the
of
whole
family.
BASS SAXHORN.
(TUBA)
8.
This
is
the
so
far.
Thanks
to
the
trabass-Tuba.
to
two
the
instrument
only
orchestra
mon
Basstuba:
German:
In
addition
of
Saxhorn
the
of
However, as
instruments
tube
its
are
is
like
nothing
as
and
rich
low
the
narrow,
relatively
been
can descend
it
valves,
supplementary
has
that
family
as low as
notes
as on the
full
Con-
the
Contrabass-
***
Tuba.
Compass:
Bass -Tubas
tones
are
the
in
low
constructed
C and
in
in
this
Bt>,
register:
in
Actual
^ "^Ac
the
low one)
very
................. .
is
the general
used,
is
unfortunately
On
rich
the
in
most
register
interesting
but
b*
it
is
can, with
the
imprudent, when
and
even
this
in
the
third
note
#^
\*
performers
in
C.
(the
Ai
should
be
z
.
5-piston
scoring
TT
comprised
the
the Tuba
for
Ful1 tone-power.
I.
t>3
exceptional
,
that
write
to
is
Less sonorous.
II
find
practice
weakest:
..........................................................
Sonorous. H
Some
the
sounds.)
.....................................................
.
;
'
instrument
If
key
Bass-Tuba
But, whichever
latter
High
for the
sparingly
register.
as
orchestra, to write
used,
as well as
all
as
low
than
lower
the
degrees
Y.
two
octaves
between
quality.
J.
W. 14J467.
and
are
remarkably
intense
and
THE SAXHORNS.
The Tuba, which has
factory a substitute
blend well; the soft
with great advantage replaced the Ophicleide, is not so satisfor the Bass Trombone,
for the two kinds of tone -color
do
not
thick
tone
of
the
Tuba jars
with
the
hoven
jd
nor
Trombone
Tuba.
*p-n
1=?
at
their
metallic
of
timbre
remember that
disposal.
of the
Trom-
the Tuba.
We
give
neither Beet-
some
examples
THE SAXHORNS.
tuned
is
It
Tuba
German:
In
11
either
in F, in Es.
F or
in
in
E!>.
inF.
:
Compass;
sounding:
in
instrument
This
is
between
necting
link
usually
doubles.
not
used
in
the
Tuba
and
the
In
tuned
is
It
Kontrabass-Tuba.
German:
in
Bi>.
Compass:
written
is
It
sounding:
like
16
ft.
stop,
*)'
e. g.
Double -bass
Saxhorn in Bl>.
be seen, this is, of the whole family, the member that has the most limited
All the notes of the
compass, but, on the other hand, it is perhaps the most sonorous.
scale come out well, down to G, and the execution is satisfactory, despite the
great
of
the
notes.
depth
As
will
Wagner had
to
16
when
ft.
Contrabass -Tuba
These
El>.
forte
played
Contrabass -Tuba.
extremely
(V. P.
low
186).
in
constructed
notes
Their
are
not
effect
is
for
Rheingold, which
as could
as
satisfactory
better mezzo -forte:
could
be
descend
wished,
"}' "
\b,\>
1>
Lento.
Bass -Tubas.
Contrabass -Tuba
J-n-y^J-jn^^f^^
MM- bil!ll> ,,13 |W-
in C.
It
is
mf
also
that
he gives this
low
J.
to
the
W. 14267.
of Schott
&
Contrabass -Tuba:
W
C?, Pnbllsherii-Proprietorij
THE SAXHORNS.
Bass Trumpet
98
Chapter III.
Instruments.
Percussion
(ital.,
"The Kettle-drum
1.
The
made
usually
loosen
or
This
last
some
the
proposition
well
the
to
the
to
are
shell,
over
kind
of
which
is
or
flaw
makers
curried,
homogeneous,
means
of
can
be
skin.
"head"
the
goat- skin,
employ
by
stretched
dint;
shell
better
of
Fr, Timbales.)
action
dimensions
notes
deep
is
be
attached
No precise
instrument
must
obedience
in
expanding
Kettle-drums
large
is
It
membrane.
the
hemispherical
from any
The skin
thickness.
and
contracting
but
skin,
of
brass, free
good
calf- skin.
uniform
of
consists
of
ass's
of
sheep-skin, or
and
be
should
shell
Pauken.
Ger.,
dog-skin,
without
cracks,
screws; an iron ring,
of
these
screws, serves
given
for
to
tighten
Kettle -drums,
but
on
(Kastner)
quality!'
self-evident.
Nowadays, all Kettle-drum heads are made of well curried calf -skin, usually
from the animal's back, that being considered the most serviceable part of
2.
lected
is
sethe
hide.
As
the
the
skin
rescue,
is
uniform
absolutely
parts, and
may sometimes
the
sparing
thin
drummer
conscientious
much
not of
beating
be seen
out
drummer's
the
thickness,
the
ones.
thick
out
hammering
experience comes to
Before a rehearsal,
parts
the
of
head, very
like
gold-beater.
It
sometimes takes 4 or 5 years to "mellow" a Kettle-drum.
The instrument - maker
constructs it, but the performer gives it the finishing touches, which take more time, as
we have just seen, than the making of the Drum.
made
well
accident
Kettle-drum
happen to
performer
on
this
it,
lasts
about
as
instrument
in
time.
long
"On the
average,
says
and
Mr
and
if
Henri
accidents
no
untimely
Vizentini,
the
rare
the
are
in
orchestra.
3.
The
ed
in
the
can at
will
three
to
sizes.
sound
any
one
of
the
J
smallest
size
gives
J
the
the
degrees compris-
following
|J
notes:
v
and
chromatic
fifth:
=SJF
The
in
made
be
medium -sized
:,
according
ones play
to
the
either
custom
J.
in
of
the
the
W. 14267.
r
or
fifth
various
countries.
in
the
fifth
99
THE KETTLE-DRUMS.
For the sake
compass
two
completeness, we will
"
to be found
of
..
in
weakness
atoned
being
for
the
by
ff
|*
Fq
with
it
(8^
with
practice, the
in
F an octave
low
this
not
is
the
the
of
quality
h\
?'
to go
advisable
not
is
H-;t
f- V
it
rich
*/
So,
and
full
Kettle-drum
little
Even
Beethoven
though
but
museums,
highest
4.
mention
also
its
lower,
F:
Symphony.)
(9tb Symphony.)
either
beyond
F or
high
low
F.
==
is
required for a special effect, but has no tonal value except in a pianissitone suggests the idea of a cracked Bass Drum.
that Berlioz wrote the high FJI, and Wagner the low E, but only
fully aware
sometimes
mo;
I
its
am
and
exceptionally,
ask
them
if
something
another
Besides, there is
drum: it consists
5.
In
ened
and
by
means
of
which
he
wise
there
is
is
means
using
old
for
borrow
to
from
anything
risk
been
varying in
one.
small
familiar,
some
the
roll
to
better
is
it
number
from
Taking
into
head
membrane
the
9 to
to
bear tightening
to
the
of
screws
several
but
fifth,
it
inequalities
Besides, quality
cracking.
extent
the
the
of
be
skin
other-
accordingly;
and correct
Drums depends
The head is
would
Kettle-
the
of
sticks.
is
for
11
account
the
that
Kettle-drum
them,
than
deeper
with
retained;
drummer adjusts
the
of
producing
Drum played
has
system
of
Bass
screws,
7 to
with
in
the
France,
from
inclined
feel
you
else.
for
intonation
on the
inter-
sufficiently
part
they
I
carefully
take
five
avoid
scores
Liszt:
exceeding
at
this
random:
Hungaria
....
Kettle-drums tuned
in:
to:
Changing
Then to:
B\>,
Ff,
D|.
Bb, D|.
C, Dl|.
B\>,
Bit,
Mazeppa
2 Kettle-drums tuned
Changing
Then
And
to:
finally to:
(Maximum
J.
in:
to:
skip:
*. 14267.
a minor
D.
A,
A, D.
A, Cf.
A, Bl|.
A, D.
third.)
will
limit.
of
Drum
be
by
more
seen
that
100
THE KETTLE-DRUMS.
Marche Nocturne
2 Kettle-drums tuned
(L'Enfance du Christ.)
Changing to:
(Skip of a second.)
Berlioz:
(Lelio.)
Then
in:
G, C.
G, Bk
in:
At,C.
Al, D.
to:
At.E.
to:
About
one
of a
pitch
if
fifth,
When
the
ear;
the
screws.
small
only
such
indeed
when
know
they
In
risked.
are
to
is
it
fact,
be
skip
intervals
in
give
only
drummers manage
question,
tune
to
without consulting
or a whole
turn
to
the din
of
tutti.
when wide
However,
ience;
whether
may
they
the
skips are
seen
be
instrument
in
for,
touching
gently
is
called
the
they no longer trust to their manual experskin with a drum -stick, endeavoring to judge
tune.
ened
as
according
levers
acting
latter
kind
is
upon
instrument
the
number
more general
in
is
turned to
notches
of
the
the
right
corresponding
All
head
mechanically
being tightened or
or to
the
the
series
to
left:
of
(2)
Drums
semitones.
loos-
with
This
use.
The great
tempo,
discarded, and
been
In
instantaneousness.
on a
single
In
moderate
Drum.
moderate.
=*"
the
stick, so as
to avoid
blurring.)
by
handling
the
lever
slowly,
very
much
like
Andante.
The Paris
had
that
Opera
they
have
Sub judice Us
not
adopted
these
sufficiently
direct
control
estl
i.
W. 14267.
over
the
tuning
of
the
Drum.
101
THE KETTLE-DRUMS.
As
7.
for
without
fit,
composers,
they
need
other preoccupation
any
take
not
than
sides
that
of
the
in
quarrel,
the
confining
but
instrument
to
its
of-
true
fice.
What do we require
A vibration, a sound
denly damp
the Drum's function
With
in
successive
without
It
is
involving
all
the
all
that,
at
first
such
case
It
sometimes,
happens
unable
the
think
to
course
the
change
of
changes
the
of
in
can
scale
is
performer
tuned
easily
be
obtained,
embarrassed by the
beforehand;
changes for the
it
key
proper
somewhat to blame.
is
composer
in
the
rehearsal,
Drum can be
each
chromatic
degrees of the
a minor third.
than
greater
skip
happens
frequently
to
antagonistic
semitones,
like
away
run
to
Drums
three
dying
sound
this
Kettle-drum?
the
of
will
be
the
next rehearsal.
In
follows:
and
then
that
needs to finish
he
on
off
IT
Bi>,
as follows:
Vivo.
t
Orchestra.
Kettle -Drum.
he
If
his
is
neighbors
own
the
he will
na'fve,
accord, request
give two
C, to
one
of
on
If,
his
of
his
troubles to the
his
tell
assistance.
for
screws
the
he
contrary,
in
companions
half -turn
the
conductor,
the
is
who
will
bright
orchestra, while
necessary
to
raise
direct
man,
he
the
will,
himself
ask
him to
he
is
Drum
of
his
playing
by
semitone.
Nowadays, anything can be written, technical difficulties constantly diminishing, but nothing ought to be written which is not in keeping with the nature of the instrument.
The
8.
There are
Sticks
with
for
two
skin
soft
Sticks.
kinds:
knobs, for
ordinary
use forte
or
piano, and
effects.
particular/
Formerly, wooden- headed
sticks
but
very
The
head,
and
prefers playing
mid -way
between
J.
edge
W. 14267.
and
centre.
THE KETTLE-DRUMS.
102
Mode
9.
If
as that
written
the
vibration
overture
the
of
beginning
of
sound
to
remainder
of
the
the
of
would
Fidelia,
Kettle-drums.
required, the
is
Drum
must be as carefully
part
instrument.
any other
of
Beethoven, fearing
the
duration
definite
any
of writing.
*}'
orchestra,
3-
8 Jit
the
J)
is
in
the
separates
ty
last
dotted:
Orchestra.
^*pt
In
ed beat
just
course
the
of
as
bar
by
have
well
the
work,
means
of
of
written
it
be
will
crotchet,
it
minims;
is
observed,
when, not
a
having
any
mere question
of
special
intention, he
might
habit:
Allegro.
Kettle-drums.
Orchestra.
Elffe
t^pEEfp
(Quartet)
such
In
Mozart
cases,
usually
writes:
m
When a
10.
Some
others
write
like
the
roll
the
is
roll
tremolo
the
required,
like
of
the
great
shake
masters
make use
of
two
kinds
of
notation.
*}'
*)'
Strings
o
.
and
same
the
Remark:
specify
master
frequently
both
system
seem
in
systems
Vivo.
The
uses
Afoderato.
preferable, precisely
J. \V.
on
succession.
system
it
becomes indispensable
Adagio.
account
14267.
of
its
uniformity.
to
103
THE KETTLE-DRUMS.
11:
When a
performer
may
wr
roll
think
lasts
the
through
two
composer
or more
intends
the
bars,
the
first
beat
notes
of
must be
each
bar
to
be
marked:
104
THE KETTLE-DRUMS.
dramatic
in
its
energy:
Kettle-drums.
Orchestra.
We
on the
must
also
mention
Double-basses;
the
the
possibility
two
qualities
of
continuing
of
ring:
Kettle-drums.
Double-bass.
T~-C
tone
a roll
follow
(Gernsheim,
on the
each other
Drums
#*2*
Symphony.)
by a
tremolo
THE KETTLE-DRUMS.
Allegro.
Kettle drums
(Ek
Bk)
Orchestra
106
(ital.,
We
1.
case
The
have
seen
are
sticks
effects
its
depend
The 2
Kemak:
not
Drum
Side
the
material,
and
detain us,
or
be
suited
being
on
solely
to
all
The
sticks
on
the
one
of
stead, the
its
but, in
two
stroke
single
first
is
also
stick
is
short
in
Side
Bt>,
Drum,
A^, or
in
because
keys,
the
in
it
has
in
no
it
would be more
is
F#
quite
key of
im-
own
its
of the
tuning of the
Drum need
Side
is
membrane,
Strokes.
used:
rarely
double- stroke,
"coup de
the
the
of
be
could be quoted
produced
the
by
(fla) Soundipg:
from
differing
charge',
almost
simultaneous attack
of
the
employed:
usually
Written:
as
calf -skin;
of
sufficiently conclusive.
Various
2:
made
is
rhythm.
that
examples
as
tone
the
to
assigned
noise.
it
Kettle-drums
of
Fr, Tambour.)
used.
is
sheepskin
can
pitch
call
to
head
Kleine Trommel.
Ger.,
wood.
of
As no definite
correct
the
that
Drum
Side
the
of
piccolo.
the
=^=
above
by
the
accentuation
of
the
note:
Rolls.
3
Rolls
They
are
consist
ra.
called:
of
3,
4,
5,
6,
strokes, and
10
8,
7,
so
on:
etc.
There
a
is
shake, or
also
continuous
the
like
the
tremolo
similar
roll,
of
the
to
the
Kettle-drum
roll;
it
is
written
like
Strings:
or:
care
values
being
taken, as
sufficiently
in
rapid
VtTO.
the
to
case
produce
Kettle-drum
the
of
true
Moderate.
J.
(P.102,
roll:
"
W. 14X67.
Adagio.
10),
to
write
time-
107
Rhythmic Combinations.
Some
4.
the
of
summarize
rolls
the
all
Aux
in
of
capabilities
(J--80U
(J
use
in
French
the
are
army
r_
3E
pretty
well
Champs-.
L
a-
no)
(J
La
they
76)
L_
Pas
below:
given
instrument:
the
accelere: 5K^
Retraite:
Notation.
The
5.
Drum
Side
is
the
idea
of
high
notes.
line
without
any
clef
of
usually
However,
is
to
given
written
the
in
the
in
majority
Side Drum,
the
its
clef,
as
Drum
this
6.
is
do
not
frequently
derive
used
for
and
peculiar
Kettle-drums,
the
think
the
for
it
has
ever
been
Drum,
in the
employed
in
acute
timbre
evoking
scores
of
clear
Triangle,
Castanets,
all
orchestra.
symphony.
On
the
other
hand,
it
dramatic
terrible
purposes.
effect from
famous
crescendo
roll
Berlioz's
own words,
of
the
(in
Huguenots)'.'
These
vice,
are,
then
fluous
to
quite
quote
At random,
account
in
in
fact,
Since
novel.
examples.
quote
this
his
Everyone
theme
it
time,
of
can
them
call
mind.
"Marche de Turenne"
the
L'Arlesienne:
Allegro.
Horns &
Wood-wind.
Side -Drum.
Violins.
Basses.
ere
(Choudens, Editeur-Proprietaire.)
to
J.
seen
W. 14267.
which
Bizet
has turned to
THE
108
And
other
this
delicate
incisive
yet
SIDE DRUM.
from
effect,
Scenes Pittoresques:
the
Solo.
Side
Drum.
Orchestra.
Proprietors.)
7.
of
heard
a very
cloth,
at
striking
or
parchment being
the Drum.
Nothing
Sometimes
either
by
means
of
the
dismal
tone
to
than
met with;
is
as
snares, or by muffling
usually
the
to
left
use
of
is
of
the
obtained,
speak,
long
the
described
performer.
the muffled
<
Maestoso.
and, so
damped
more
be
of
quality
sans timbre
indication:
loosening the
execution is
less
head
the
If
driven
Drum
be covered
the
vibrations
back
into
the
gradually swelling
roll,
in-
and
Drum:
muffled
mournful
can
of
diminishing, on
funerals.
military
and
more
the
terior
be
may
They
a
okeme.)
Drums.
Muffled
with
(MaSSCnet, Fete
effect
above;
obtained
required is
the choice
of
the
Side Drum:
a 2.
Clarinets
in B\>.
PJ
Horn in
Bassoons.
im
F.
Trombones
VP\
Tuba.
-
>:i>,
-J>
Es-4
8
m
i3S
Kettle-
fffF)
Drums.
(muffled
Side Drum.
PP
Bass Drum
(Mackenzie, Solemn
(By kind permission
of Novello
&
C9, L4.,
March from
Publishers- Proprietors.)
brass.
in
Tenor
sound
Drum
is
longer
than
the
Side
Drum, and
is
made
of
wood, instead
of
It
in
The
Its
serves
is
the
J.
W. 14267.
109
THE TAMBOURINE.
Tamburino.
(ital.,
There
\:
(1)
By
are
three
the
striking
ways
Ger., Schellentrommel.
of
parchment
using it:
with the back of
Tambour de Basque)
Fr.,
hand:
the
Tambourine.
Carmen.
Orchestra.
(Choudens, Editenr
Carmen,
(Bizet,
Proprie'tire.)
182.)
p.
(2)
shaking the instrument, in order to call into play the "jingles', i. e. the small metal
which are, so to speak, embedded in its hoop; a metallic rustle rather than a roll
By
plates
is thus
obtained:
Tambourine.
Mr
Orchestra.
(Choudens, Editeur
As
in
like
case
the
shake, or
of
Kettle-drum
the
like
tremolo
and
the
for
(Carmen,
Proprietaire.)
p. 183.)
written
either
suffic-
rustle
this
Drum,
Military
is
Strings:
or:
Note,
iently
before, that
rapid to ensure
the
the
104)
of
Military
temporary
This, however,
in
single
line
is
can
roll
be produced,
some
requires
i^-yJ^-yiJSJSiJS^i
j_J
predominates.
The
2.
mode
latter
By gliding the
sound of the jingles
(3)
(J =
when
as
|J
>J
-y|J -yJ
Tambourine than
usually
in
which
skill.
employed, as
the
v|J
of
the
above
ex-
that
in
in
ample.
THE TABOR.
(Fr.,
This
1.
blows
his
is
into
left
Tambouring
he
beats
_ Allegro
time
with
single
Provence.
in
his
The
right
tabor -player
hand, while with
stick:
.^
Piccolo.
Tabor.
iuj
*m.
\i
J.
W. 14267.
(Bizet,
'
ArleStetttie.)
110
THE TRIANGLE.
Triangolo.
(ital.,
The
1.
suitable
written
be
Triangle may
all
kinds of
for
Ger.,
Triangel.
on
either
single
combinations,
rhythmic
Triangle.}
Fr.,
or
line,
the
clef.
It
is
group
of
double,
single,
in
Allegro.
The
tremolo
2.
The
notes,
seems
sometimes
stroke
single
2, 3, 4, or
written
is
the
have
alone
last
simple, and
too
appreciable
any
in
I.
The
short
note
the
preceding
note
true
II.
This
III. This
4 notes
of
group
is
If
where
the
pianissimo
the
Remark-.
has
rod
performer
I
4r
heard
is
only
likely to
is
think
it
sprightliness.
third
first
and
groups
(7,
the
natural,
odd -numbered
all
wanted,
an
know
it
or
inch
his
is
so
the
of
top
business,
it
the
of
struck
being
last
being
is
needless
to
9, etc.),
Triangle
move
to
space
may be
alone
so
more
and
first
by
value.
in
the
same
in
con-
struck
directions.
trary
3.
not
the
replaced
IV
it
gives
is
time
that
are
very
must
good,
be
touched,
note
this
in
for
the
in.
As
score.
the fact
the
is
(J
88)
rrm
Triangle.
PP
Tempo di Minuetto.
Orchestra.
r
J.
W. 14267.
(Berlioz,
Damnation de
Eatust.)
in
THE TRIANGLE.
/""*
112)
-.
Piccolo.
Mj
Flutes.
Triangle.
fff
^ ^
fefe
Violins.
Violas.
i
(By kind permission
(J
~r
A.Durand
of
o
et Fils,
""/."
Editeurs-ProprUtaires.)
(.Saint- SaenS,
La
Jeunesse d'Hercule.)
120)
Flutes.
Triangle.
Violins.
m f^f
Violas.
fizz.
Violoncellos.
^^
Allegretto.
Horns in E.
Triangle.
Violins.
Violas
Violoncellos.
Double-basses.
^ife
(Schumann,
/? Symphony?)
112
THE TRIANGLE.
Here
for
the
is
very
delicate
effect
Strings.
Triangle.
of
the
Triangle
tremolo, with
pianissimo
holding-notes
THE CASTANETS.
this
Usually,
tain
formulae
instrument, so characteristic of
current tras los monies, which
113
popular
are not
Spanish
music,
varied,
very
is
confined to cer-
as may
be
seen:
Treble.
Castanets.
Bass.
Allegretto
Treble.
Castanets.
Bass.
The
2.
beneath
are
Castanets
2nd Scehe
The
the
of
veil
this
Samson
of
rhythm
persisting
Ones)
a
et
the
for
single
without
line,
Dalila
should
Castanets
any clef.
consulted.
be
(both
wooden and
Note,
iron
Allegro.
the
then
Act
on
written
usually
3!^
the
of
skilful
drawing
use
of
the
finally
instruments
percussion
closer, and
to
uniting
THE CYMBALS.
(Ital., Piatti.
1.
They
They
ly
may
struck
The
In
be
with
sound
the
may be played
violently
may
former
drum
either
together
one
clashed
Ger., Beckett.)
or
against
separately.
the other,
either
be
case, the
damped, or
Cymbals
are
it
may be allowed
written
in
the
latter
or
one
them may be
as
vibrate.
to
follows:
.
case, thus:
tp
of
-stick.
"
ff
J.
W. 14267.
light-
114
THE CYMBALS.
Even
so
the
if
be
2:
bind
an
brass
(2)
There
axis
for
discs
in
pended
they may
the right
to
its
by
the
to
uneven, but
strap, and a
from piano
example
of
be
the
of
nevertheless
surer, the
retains
two
to
forte, the
specimen
_
Cymbal.
Orchestra.
/5
tL
of
Vivo.
i*
the
and
its
value as a bind,
preceding
sonorous
i.e.
examples may
al-
kind
of
sound
the
roll,
swells
tutti
other
kind:
/ll
/!
metallic jingle;
two
with
great
passage
/>
Cymbals
may
performed on
roll
ff
as a
violent
Allegro.
very
first
Tannhauser
and
it
make
(1) In a
producing a roll, or tremolo, with the Cymbals:
clashed against each other, the performer's wrist serving
these shocks, as rapid as possible, of the two
left motion;
of
passages, or
piano
an
an
produce
drumsticks;
vice versa.
As
two ways
are
of
oration
be
written:
forte passage,
as
not
a rest,
To
stopped.
leads
only
must
vibrations
the
sus-
by
means
and
regularity
which
bars
it
be
fortissimo
for
the
115
THE CYMBALS.
4.
sponge -tipped
angle.
has noticed
one
Every
could
seems
gold-dust
as
drumstick, so
Nothing
to
the
color a
rise
to
equal
or
more
rhythm
out
up
charming
the
of
effect
even
of
Cymbal
the
surpass
with
delightfully;
struck
gently
of
pianissimo
each
stroke
with
the
cloud
Triof
orchestra:
Andantino.
Cymbal
Poco
rit.
Flute.
(Solo.)
Violins.
Viola.
Violoncello.
Double- bass,
la
Tempo
(J. Hamelle,
The
in
Cymbal strokes which are indicated in the above example are not to be found
Suite from Namouna (P. 74); it was Vaucorbeil who very ingeniously added
during
characteristic,
of
(Lalo.)
two
the
them
Editeur- Proprietaire.)
the
theme,
the
rehearsals
of
so unexpectedly
that
it
still
Lalo's
posthumous
picturesque
rings
in
my
was
ear,
this
work at
metallic
despite
elapsed.
J.W. 14267.
the
the
Paris
quiver,
many
Opera-house.
So
years
which
have
since
116
We
midst
THE CYMBALS.
now
another
give
the
of
example
of
the
skilful
use
of
fymbal
struck
piano
in
the
Strings:
Allegretto.
a 2.
Clar. in
B\>.
Bassoon.
Horn
in Bt>.
Cymbal.
Violins.
J>
^^T
*/
!/
Violas.
Violoncellos.
^^
J * J
EE
cantando.
Double-basses.
"
of Heugel
Ci?, Editeurn-Proprietaires.)
J.W. 14267.
Arco.
__
(Th. Dubois, Suite miniatured)
THE CYMBALS.
ANCIENT CYMBALS.
5.
are
They
Museum
the
of
made
Pandean
Flutes, Organs,
They are much smaller
and have a more silvery
Since
their
many
The
would
be
the
of
Ancient
held
Cymbals
timbre.
and
in
employed
in
etc.
from
varying
Romeo
in
kinds
all
preserved
and
to
inches
Les Troyens,
in
in
diameter,
Gounod,
St Sae'ns,
as
for
such
and
tremolos,
some
figurantes
small
effect
special
rolls
Cymbals, avoiding
ordinary
on
surface.
will
some
step
keep
frequently
However, such
rolls
day
be
produced
with
the
assistance of
by
hand.
the
in
of
Pompeii, and
at
them.
production
perhaps
dancers
stage,
acute
them
for
discovered
Citharae,
Cymbals,
Berlioz
difficult
impossible, and
means.
On
Pipes,
our
employed
not
their
and
by
have
writes
composer
which
are
adoption
others
than
those
of
instruments
with
Naples, along
Caesars:
and
model
the
after
This
angle,
the
another
is
What
obtained
is
required
Bass Drum
The
ment
instrument
etc.
Castanets,
result
ought
to
Gran Cassa.
act
without
worth
Bass Drum
the
of
to
ought
the
equally
be
large:
upon
the
or
felt
gle
the
handle, a
wise
We
of
the
have
rarely
already
sticks
been
is
rods
sometimes
rather
said
for
used.
this
We
(P.
99,
Bass
been
large drumstick
with
or
Tri-
attempted, but
provided
either with
one
knob,
held
by
on In-
Treatise
(Pares,
double
mailloche
the
Drum,
braces
circumference',
of a
With
or
Military
involves).
and
full
the
has
it
the
at
middle
sin-
each
end
of
its
Drum can
like-
deeper than
that
might
employed, the player making use
The roll thus produced is very effective,
but
Ket-
Kettle-drums, the
tle-drum
that
(mailloche simple},
(mailloche double).
roll
imitate
knob
cork
stick
Drum
whole
Bass
trouble
the
like
intonation,
precise
the
(Tuning
not
is
Get., Grosse
4)
that,
Drum
in
order
be
purpose.
give one example:
J.
W. 14267.
to
obtain
The
Bass
roll
of
has
118
Trumpets
Do able
8)
in C.
basses.
,
Who
bals,
has
not
been
accentuating
deur?
Bassoons.
Horns
in
moved
by
the
phrase,
to
which
of
Henry Lemoine
pianissimo
it
lends
attack
et Clf,
of
mysterious
Editeurs- Proprietaires.)
the
united
solemnity
II
119
~mm
THE BASS -DRUM.
120
I
i
^^
f' f
if
r
7
Ul
1
il.
U
itJ
Ji
Tf-rgfe
^s
*jr-
^
y
(Balakirew, Thamar.)
.1.
W. 14867.
121
THE GONG.
Tam-tam.
(ital.,
The
Gong
The
composer
able
not
key,
to
give
to
must
tone
definite
of
borrow
to
of
change
any
continues
Tam-tam.)
Fr.,
terrifying
seems
it
yet
that
is
Tam-tam.
Ger.,
pitch,
the
or
harmony
vibrate.
and
is
the
of
tonality
must
modulation
any
consequently adapted
chord in which it
be
as
avoided
use
for
is
in
is
any
so
struck,
Andante.
Gong.
Orchestra.
The
seems
Gong
appears to
second bar
the
of
chord,
otherwise,
bar;
like
its
such
In
Pianoforte
it
tune
in
quite
lose
suddenly
(Y Z).
first
be
to
it
case,
will
without
first
of intonation
truth
a
the
in
is
when
to
necessary
seem, during
the
bar
(X)
the
damp
second
vibrations
its
to
bar,
hold
the
at
the
end
preceding
dampers.
and
If
us
that
three
cataclysm,
suppose
we need
such
I
we
to
shocks
think
the
are
give
at
to
required
the
depict
impression
Titans
violent
sonorous
altitudes
instruments
would
different
percussion
of
the
Cymbals.
Gong.
Bass -Drum A
being
shocks
might
need to
in
quick
suffice-
be
succession.
to
indicate
disposed
as
the
follows:
122
Percussion
Exceptional
Instruments.
2.
The Glockenspiel.
The Celesta.
3.
The Xylophone.
4.
Bells.
1.
THE GLOCKENSPIEL.
means
of
for
If,
to
"it
length,
an
extent
the
were
would
be
only
their
necessary
are
struck
by
length.
between
difference
direct
in
increase
to
bars, which
steel
is
chromatic
the
obtain
to
the
to
bars
of
square
desired
small
of
these
of
pitch
to
equivalent
number
of
the
ratio
it
instance,
equal
bar
inverse
in
consists
hammers;
little
ness, and
of
instrument
This
1.
scale
means
thickness
the
each
by
the
of
of
bars
of
all
each successive
semitones."
(Mahillon).
The compass
the
of
from
is
keyboard
Glockenspiel
to
two
and
octaves
sounding
tone
-f
l>TT
The
little
instrument
allowed
Wagner,
me,
best
lowest
tone,
I
the
Massenet,
The
believe
After
him
finale
La
in
notes
notes
which
somewhat
the
in
treated
be
may
for
the
of
keyboard
much
long
instrument
to
tendency
the lower
Mozart
was
the
first
^***\
in
it
employed
i
are,
sound
the
manner
Meyerbeer,
have
etc.
employed
of
as
course,
the
fifth
in
the
the
composer
to
make use
Zauberflote:
*<Tj
the
the
Piano,
time
provided
is
14267.
in
Lak-
register,
the
Delibes,
Glockenspiel.
above,
in
J.
of
L'Africaine,
those
note
that
to
travel,
to
Die Walkure,
similar
is
same
the
vibrations
power
Handel
Allegro.
octaves
Glockenspiel
in
Vierge,
the
of
having
loses
of
are two
the
medium
instead
of
of
the
fundamental
scale.
of
the
Glockenspiel,
in
Saul.
123
THE CELESTA.
2.
This
placed
by
on
other
the
strument,
Its
an
is
instrument
hand,
was
in
justified
much
is
Glockenspiel,
than
that
the
of
the
Mustel,
poetical.
name
the
it
giving
weaker
and
ethereal
the
like
keyboard,
steel
from
instrument,
delightful
On
had
P.
72
of
an
made use
Celesta
will
the
like
over
the
from
come
it,
the
at
ever
tone
more
rather
can
time, the
illustration
of
Piano, or
vibrations
Its
same
the
at
mystery
gave
already
The
and,
veil
but,
the
in-
sounding
may be treated
somewhat resembles.
it
wind
a
to
Celesta
which
of
Celesta.
of
* .....
The
bars,
inventor
octaves;
four
is
compass
more
infinitely
fully
tone
Their
tuning-forks.
with
Louise,
Ope'ra,
into
of
percussion
and
ft,
the
organ-stops,
those
like
attack
of
throws
Celesta.
the
in
ft.
almost
sustained
be
crystalline
of
like
which
in
the
the
Celesta
is
employed.
Korrigane,
vogue.
THE XYLOPHONE.
(Ger.,
3.
This
is
an
like
disposed
length,
instrument
consisting
organ- pipes,
Holzharmonika)
a
of
which
series
are
of
struck
wooden
by
bars, or
means
of
two
rollers, of
little
varying
wooden mal-
lets.
Compass: three
Saint
inent
Sae'ns
composer
octaves:
has
used
writes
the
it
in
notes
the
an
Danse Macabre,
octave
below
Allegro.
Sounding:
aFjM^jjjjE;
J.
W. 14267.
and
their
Gevaert
true
pitch:
124
BELLS.
of
and
tin
To
an
give
suffice
12
to
than
195 tons.
bells
So,
When
are
metal
which
of
dimensions, their
their
practical
-Dame
with
classed
of
difficulty
of
weight
Notre
of
be
may
to
difficult
the
bell
great
for
the
of
that
say
the
The
keys.
are
they
should
height
be
to
an
is
composed
their
alloy
greatest
15.
to
idea
that
all
in
As
copper.
as
diameter
made
are
Bells
4.
bell
church
weighs
in
Organs
the
in
C -2
Tenor
sounding
(Paris)
them
employing
18
tons, and
the
category
Kremlin
the
of
22
over
is
tons,
more
bell
musical
will
it
orchestra,
instruments
manipulate.
for
writing
must
care
bells,
be
taken
the
actual
to
whether
indicate
sounds
deep or acute
required.
remarks
Gevaert
that
in
on
to
theatres
is
pitch
lower
rarely
than
in
alt
EE.
the
for
been
He
tocsin
goes
St
of
as
considered
that
say
Bartholomew's
rarities:
Day,
they
yet
two
the
in
only
the
act
4t!)
sound
used
bells
large
the
of
upper
Paris Opera-house,
the
at
Les Huguenots,
octave
of
the
have always
notes
written
*#
the
composer
Large
bells
by
hemispherical
ing
are
Parsifal:
Bella
(on
not
being
the
Stage)
the
bells
cast
with
to
practical, "attempts
very
alarum -bells
These
E.
=y^=*^=^
be
in
far
heard,
their
bronze;
smaller
weight
arranged
as
have
been
relatively
of
made
to
them
replace
thin
sides
allow
the
end of
the
of
by
attain-
metal."
follows,
at
111
act
of
125
Chapter IV.
THE SAXOPHONES.
This
1.
The
the
tone
French
in
bands than
military
in
orchestras,
that
to
of
the
the
instruments
can
they
used
is
wind
all
Oboe
more
instruments,
Sax.
by
Clarinet;
Of
of
family
was invented
and
swell
are
Saxophones
diminish
tone
their
the
perhaps
without
ever
tone
The
the
of
the
the
Cello,
same
much the
are
like
expressive;
their
losing
some
analogy to the
mechanism and fingering
(bearing
most
as
for
Oboe.
the
The
are
following
the
four
members
which
of
B?
in
E!>
Tenor
in
B!>
Barytone
in
El>
Saxophone
Alto
Soprano
Tenor
can
about
have
all
They
and
rise
same
the
Barytone
to
11
compass as the
at
stop
the
in
El>
is
family
in
Soprano
the
the
low
the
Oboe, including
highest
composed:
officially
whereas
register,
however,
B!>;
Alto
and
better to avoid
writ-
the
F.
->L
..''
f.
Compass
of Alto
Compass
The
2:
the
ing
their
in
As
is
it
for
lowest
the
notes
for
cannot
them;
descend
the
& Tenor.
very
and
Alto
it
Saxophone,
is
used
not
in
Proceeding
easily,
Barytone,
so
it
on
the
is
are excellent
contrary,
register.
Bass
usually
ease
ful
low
very
Tenor
and
Soprano
& Barytone.
of Soprano
by
analogy
and
tone -color
of
of
practice, on
can
pitch,
skip
the
account
down
of
with
its
the
great weight;
most
comparison
following
grace-
may
be
established:
Soprano
Alto
Tenor
Barytone
ft.
stop
12
ft.
ii
_ 16
ft.
.1
Saxophone
written
in
the
24
clef,
ft.
=
=
=
=
whatever
Oboe, Clarinet.
Cor Anglais.
Cello.
Bass Clarinet.
their
actual
pitch
W. 14267.
may
=
~-^
be.
this restriction
126
THE SAXOPHONES.
SOPRANO SAXOPHONE
Bk
in
3
sounding:
Compass:
office
Its
need.
in
is
It
bands
military
rather
shrill
the
reinforce
to
is
instrument, and
-toned
replace them
Clarinets, or to
used
not
is
ALTO SAXOPHONE
in
in
the
in
case
of
orchestra.
Ek
the
is
It
best
the
of
tone
is
It
even, and
Remark:
rise
easily,
the
at
it
of the
medium
do not
The 5
register.
virtuosi.
Saxophone
can
it
that
By saying
as the notes
be
to
powerful
ticable
for
is
instrument
the
family,
heard
Hamlet, L'Arlesienne,
in
etc.
Herodia.de, Werther,
Its
sounding:
Compass:
Clarinets.
mean
that the highest notes are as prachighest notes can only be written
or 6
thinner.
E\>:
sounding:
(Choudens, Editeur
It
the
to
is
are
peggios
Alto
given
the
Avoid, however,
that
Saxophone
in
military
following
florid
bands'.'
figures,
scale
quick
It
is
an
below
octave
timbre
Its
the
Soprano,
dapted
It
is
as
full,
Like
the
Alto,
for
the
execution
better
nearly
in
sounding:
is
to
the
avoid
as
even,
Tenor
of
giving
shakes
and
ar-
'Pares).
Compass:
Alto.
passages,
shakes:
TENOR SAXOPHONE
5.
Proprietaire.)
and
in
Saxophone
every
is
in
unison
Bk
with
the
as
of
capable
great execution,
chromatic figures, etc.
bravura passages,
it
the
J.
or
highest
W. J4267.
Clarinet.
)'
respect
Alto
notes
to
play.
and
well
a-
THE SAXOPHONES.
BARYTONE SAXOPHONE
&.
Compass:
instrument
This
Bass
the
7.
is
is
neglected, and
consists
to
quite
the
simple as
so
in
for
which, as we
Bi>,
the
Bass
the
it
plays
much
same
the
mention
that
the
of
of
Saxophones
higher
There is another
Saxophones.
for the sake of completeness.
of
family
part
it
pitch.
group,
but
it
varieties:
following
Saxophone
in
Soprano
in
Sopranino
As
bands
military
orchestra.
official
only
in
carry;
)'
sounding:
the
in
not
the
of
^-^
heavy
is
Such, then,
It
Clarinet
mechanism
Its
is
Ek
as
in
Alto
in
Tenor
in
Barytone
in
in
Saxophone
C,
it
is
not
used
(2), on account
of
its
great
Bass Saxophone
the
weight,
is
replaced by
Sarrusophone.
8.
ophone,
as
for,
on the
possible
figures
Sax-
shakes
the
All
"All
but
notes and
A note
quadruple
in
the
medium
register
be
not
careful
cannot be held
for
to
exhaust
the
more than 10
writing
holding-
players.
bars,
in
moderate
time.
each instrument
comparing the Clarinet with the Saxophones,it will be found that
which
can only be
a
maximum
is
can sustain a note for about 40 seconds. However, this
Upon
expected
in
case
the
What may
be
of
the
soloist
future
playing
destiny
piano.
the
of
me
by
to
it
may
rather
venture
loud
and
to
out
an opinion,
express
proportion
which
with
only
that
Saxophones
individual
confess
of
in
its
is
the orchestra?
members
be
Will
invited, as
instrument
the
has
seems to
the example
neighbors, excepting, however,
But since the Saxophone here seems
perfectly pleasing.
Bizet, quoted above,
harmonize so well with the surrounding instruments, if elsewhere it seems out of place,
be
must be because it is then seen at a disadvantage, and is consequently not to
criticized.
All
they
are
J.
properly
W. 14267.
used,
each
in
its
128
THE HARP.
(Ital.,
The
1.
following
figure
Arpa.
Ger., Harfe.
of
Fr.,
the
Harpe.}
Harp, which
grees:
This
octaves
pitch
of
diatonic
at
the
scale
once.
string
becomes chromatic
According
is
raised
as a
by
by
is
means
seven
of
hitched
into
pedal
semitone or by two semitones.
Example:
'
1st notch.
*)'
becomes:
\i
The various octaves of
one and the same string:
-^
Bd notch.
or:
129
THE HARP.
r:
passage, quoted by Berlioz as impossible, on account of the presence of both
and Ff (and so it was, formerly, for single-action Harps), is very
easy, nowadays, for double-action Harps, Ft) being played as E# on the E string.
This
So
and,
fold
double -action
this
as
Gevaert
conditions
glissandos,
whole
for
remarks,
modern
of
diatonic
is
system
a
very
music,
century
of
allowing
seem
or otherwise, which
was
It
ingenious.
whole
invented
Sebastien
by
Erard,
it
throw
to
a kind
of
the
Harp:
poetic
haze
manithose
over
the
orchestra.
The
3;
following
figure
Register of
of
registers
full tone-power.
jjJJJ
rrff
i
Excellent
in a
Thin.
PP
Catgut strings.
Covered strings
The
tone
first
is
rich
three
and
B in altissimo,
notes
alone
is
are
low notes
full,
less
whether
used forte
sonorous, but
rather poor
From
and
thin
or
in
in
quality,
lowest
The next
piano.
excellent
still
the
to
Bt;
in alt
octave, from
strings
B in alt
The
pianissimo passages.
the
the
to
highest
er.
The
4.
first
eleven
see
5.
low
of
notes
catgut.
are produced
(Harmonics
by
are
possible
on
Gamut
catgut
strings,
upas we
later).
As has already been said (2), each string of the Harp can be raised either a
or two semitones;
twenty -one notes (nearly double the numconsequently,
semitone
J.
W.
14267.
130
THE HARP.
What
6.
ful
we can
combinations
curious
get, by
the strings
tuning
all
in
sorts
fanci-
of
ways!
E. g.
even
nor or
may be transformed
scale
others
Many
succession
of
mi-
thirds:
major
3
Minor
into
thirds:
7|
-1
G(t
Bb
At
Ct
E*
Ft|
=0-8-
1
Bf
All
Ftt
V=
fJ
J
Chords
such
as
^^^
Cl
^^PF^ji^sfe
J
the
can
following
^N
J
also
be
J'
^^
J
jj
"
obtained:
^s^=
j"u
r 'j
combinations
the
All
in
comprised
four
notes,
fourth
only
three
note
to
prepared
the
is
slide
mentioned
octave.
of
the
produced
his
fingers
When
notes
by
over
in
these
are
paragraph
strings
sounded
single
the
this
the
string.
strings,
are
each
employ
gently
p. 86.)
or
violently,
fixed,
order
in
to
the harpist
produce
has
the
harmonic effect.
Presto.
(Rimsky-Korsakow, Sheherazade.)
of A. Durand et FiU,
Editeurs-Proprietaires.)
J.
W.
14267.
(Saint
Sae'nS,
Oratorio de Noel.)
131
THE HARP.
Kditeur- Proprietaire.)
of E. Fromont,
Moderate.
(By
&
C9,
Publishers
Proprietors.)
Wagner, G otterdtimmerung?)
(Liszt,
Dante -Symphonic.)
(Hasselmans.)
Sometimes,
of
indicating
needless
to
for
the
write
before
each
of Heugel et
c!?,
accidentals
note:
Accrochez:
7.
easily
nately
The
play
harpist,
iterated
plucked,
having
two
notes,
without
the
strings
even
ear
in
in
the
at
his
Editeurs
least
1.
for
tempo,
detecting
W. 14267.
(MaSSenet, Esclarmonde?)
ProprieUires.)
disposal
quickest
the
each
each
the
of
degree
the
ingenious
of
the
strings
scale,
being
subterfuge.
can
alter-
132
THE HARP.
Vivo.
(Saint-Saens, Ascanio.)
(By kind permission
of
A.Dunnd
et
Pils,
Editeurs
Proprietaires.)
(J=116)
Vivace.
(Oberthiir.)
to
cording
two
have
always
ly
(6
would
It
thanks
our
at
strings
disposal
for
each
and 7)
if
we
did
not,
Harp
note.
Harmonics.
8
never
Harpists
division
damental
We
the
of
of
have
metry's
into
other
two
harmonic
equal
than
parts,
second, which
the
and
is
consequently
open string.
already seen (4)
Verdi
writes
this
it
cannot
be
sake;
that
the
catgut
arpeggio,
descending
heard:
alone
strings
the
low
Harmonics
can
be produced
within
the
following
It
ity
is
to
is
the
by
above the fun-
produced
octave
produce
satisfactory
added
is
only
harmonfor
sym-
(Falstaff.)
limits:
sounding:
>
not
is
E +
o
9.
an
the
When
ics.
string
use any
to go still
In
higher, but at the expense of quality.
reality, it is better
so high, as the tone becomes thinner and
the
thinner;
register of good quallimited to two octaves from Gamut
G upwards:
possible
rise
~nr
sounding:
;
J.
W. 14267.
133
THE HARP.
Double -action Harps allow of sounding 2,3, sometimes even 4 simultaneous harmonwith the left hand, on condition the intervals are small, and require no extension of the
10.
ics
The
fingers.
right
hand can
than one
harmonic
at
time.
^ES
(The low C +
(Reinecke.)
(Humperdinck.)
i^f?
-QO
pp
^E
8
(Parish Alvars.)
(R.Martenot.)
Of
poetic
like
dew-drops
sounds
recall
They
ed
harmonics
course,
and
silence
in
over
by
the
the
time
of
indication:
always
lusion
of
the
wish
moonlight.
dream;
they
can
heard when
be
only
all
is
hush-
written
an octave
below the
actual
sound, with
zero
^ sounding:
note
was sometimes
Hence
frequent
written
mistakes
at
true
its
were possible;
pitch,
two
bars
to
be sounded
as written, or an
vibrations
accompanied
e. g.
Harmonics....
these
harmonics, the
brief
forte passages:
"
harmonic.
in
notes:
Berlioz,
Besides
of
sleep.
/I
11.
the
through
Written:
In
in
glistening
written
the
made use
be
echoing
harmonics are
Nowadays,
placed
cannot
is not
played as a harmonic.)
the
are
string
to
of
tone
at
stopped as soon as
that
of
the
Violas
its
octave
higher?
of writing.
disposal,
produced,
viz.
or Violins.
Andantino.
Harp.
Violins.
J.
W. 14267.
134
THE HARP.
the
of
whole of
the
In
Harp
resembles
closely
arpeggio which
like a violinist
rich
If,
extremity,
The
the
of
an
in
than
the
ail
cathedral,
empty
As
to
its
those
natural
sorts
in
the
between
as
it
harpist
may
full
lower
mistaken
be
easily
for
is
fact
further
hands,
but
consonant
it
it
to
travel
not
is
is
of
Organ
diatonically.
strings
are
octave that
the
the
use
first
the
of
inadvisable
only
the
an
like
harmony
the
prevent
not
dam-
and
than
rather
does
that
as
that,
that
time
without
Pianoforte
magnificent
enough to prevent
instrument must be treated
tenth
the
Harp.
slow
in
first
of
allowed
be
the
possible
which
hand,
the
contrast to the
an
produced
kind
tempo
in
observe
observe
intervals;
tone
the
short,
as
far
Pianoforte,
of
span
of
distance
intervals
the
of
be
technique,
special
absolute
sound
the
finger,
forming
incoherence;
as
single
Guitar.
must
Harp
harmonic
all
sion,
the
for
the
sound-waves must
say, the
to
is
written
sic
Strings,
with
phrase.
corsidered
be
Harp should
that
pers:
the
of
staccato
played
sounding-board,
Mode
12.
is
sul ponticello,
playing
timbre
metallic
the
that
the
concludes
the
to
close
passage, which
this
to
importance
corresponds to
octave and of
leave
too
great
balance
to
the
skilfully.
of
Example
sonorous
very
writing
slow
in
tempo.-
Andante.
fy
Note
also
the
bass
that
parts,
comes heavy,
octaves
the
rate
of
movement
is
accelerated,
it
becomes necessary
thick, and
the
of
if
incomprehensible,
like
the
buzzing
of
otherwise
chords played
the
in
to
simpli-
music
the
be-
lowest
Pianoforte:
Quasi Allegretto.
Note
that
octaves
treated
exception
in
immediately
his
after
works:
J.W. 14267.
135
THE HARP.
Here
seems
he
unable
being
other
this
to
to
play
which
figure,
have
four,
quite useless to
since they never
often
heard
that
forget
more than
is
it
write
of
five
of
the
account
of
its
on
criticized
chords
make use
notes,
little
harpists
finger.
weak and
Take
confused
character:
Harp.
Basses.
'it
not
built
being
low
upon
its
say
down','
true
besides
virtuosi, "and
a
bass;
arpeggio
simple
has the
it
would
be
serious
defect
more
infinitely
of
sonorous'.
most
The
why
too
written
is
we
powerful effects are produced by the simplest means. True. But is that a reason
should always follow the beaten track, and confine ourselves to one and the same
arpeggio?
Shakes.
The
13:
shake
performed
violinist
tipsy
With
the
to
attempt
might
hands, and
two
with
piano,
it
aid
the
on
hand
single
pizzicato
play
is,
of
the
on
is
nearly
first
as
string
bad
of
as the
the
one
Violin,
excellent:
contrary,
accelerando.
It
main
at
14.
to
better
is
the
fingers
all
All
airy
all
scales,
it
the
of
keyboard
is
keys
always
of
repetitions
Cl>,
of
keys
unless a
the
D!>,
rather
same chord
always
play
great
than
in
can
minor,
to
be
great
spaces
between
the
of
of
the
shake
is
to
re-
double
flats
same hand:
Much
hands:
J.
if
upon.
Not good.
Avoid
executed
remains the
number
those
the
a forte,
attempt
fingering
white
better,
Gl>,
the
key,
not
or
arpeggios, major
whatever
pedals,
had a
However,
choose the
Avoid
to
W. 14267.
better.
are
involved,
to
136
THE HARP.
Let
ing
by
the
string
other
the
between
distance
has just
which
hands
the
been
hand.
Give
the
be finer
than
the
be neither
plucked
by
sound-waves
one
too
time
to
nor
great
hand
too
immediately
let
travel;
small,
set
the
in
again
themselves.
What
each
can
bar,
and
filling
the
bass- notes
following
orchestra
with
their
of
the
Harp, marking
the beginning of
deep tones?
long
Lento.
Flutes.
Clarinets.
Harp.
Violas.
Violoncellos.
Double-basses.
(Massenet,
(By kind permission
This
called
deep register
rather
hollow,
of
the
instrument
is
admirable;
Za
Navarraise.)
even
the
(3),
are
lowest
notes,
admirable
in
which
we
.)
had
octaves:
=55
15.
practised
b^
harpists, sonorous
Animato.
seen
.do
of Heugel et
Editcurs-Proprietaires.)
J.
W. 14267.
Harpe
et
OrcAestre.)
137
THE HARP.
Rapide.
of A.Ledur, Editeur-I'mprieUire.)
(HaSSelmanS, Ballade)
Allegro.
o{
A.Durand
et Fils,
Editcurs-Proprie'uires.)
(HaSSelmanS, Gitatia.)
8'
3
Tres mte
J^L^J
of
J.
.1.
W. 14267.
138
THE HARP.
ljl>
Andante.
..
f~f
139
THE ORGAN.
Speaking of the Organ used in combination with the Orchestra, Berlioz in his Treatise
The Organ and the
says: "a secret antipathy seems to exist between these two powers.
Orchestra
the
are
both
same;
or rather, one
kings,
are
interests
their
too
is
other Pope;
the
Emperor,
and
vast
diverse
too
allow
to
mission
their
of
is
not
amalgamation'.'
I.
Whom
have
consult
Berlioz
did
been
never
vaille'- Coll,
able
to
On what
subject?
ascertain,
went
sometimes
on this
although,
so far as
to
him
charge
the
to jog
with
he
did
organist
order
in
stumble?
unluckily
memory
indifference
Ca-
Aristide
of
to
Master's
the
fame.
And
to
give
and
stops
true
is
it
Although
that
Reed-stops,
Mixture -stops
and
from
ing
suffice
Guido
three
of
an
the
sanctioned
d'Arezzo,
found
qualified
that
fact
the
the
true,
with
one
any
Foundation-stops
dat-
Organ,
genuine
whose traditions
Bach, and
by
than
Foundation-stops, Mixture-
the
old,
than Cavaille'-Coll,
better
kinds:
indisputable
constitute
to
been
have
we
should
successors.
failed
understand the
to
function
these
of
Mixture-stops
was
it
the
fault
of
informant.
his
"Organ
builders
however
sonance;
would
'it
and organists" he writes, "agree in praising the effect of this manifold reit
decidedly causes several different keys to be heard simultaneously.
be insufferable',
When
effect
Berlioz
can
they
be
produced
these
lines,
fundamental
the
cession, or simultaneously,
appreciate
beginning
If,
after
another,
the
with
value
the
of
first
acute
upper notes
drowning
them
ear
what
the
on
by
and
the
importance
not yet been
This
sounds
most
tone
had
Enregistreur Harmonique.
two
the
'if
say,
fundamental
the
wrote
the
of
composition
to
are
have
Berlioz
who would
nevertheless
is
it
could
authority
organ-stops
alone
of
our
to
Berlioz
If
time
the
down
hand
reliable
had
he
else
more
indeed, what
whom
instrument,
32 upper
beyond
function
of
consisting
320<l
of
an
they
remains to be explained
of
by
the
tones
partial
Cavaille'-Coll
32
pipes, can
ft.
our
A,
in
with
sound,
in
the
his
suc-
harmonic.
notes, the
out, but
singled
heard!'
not
is
be
then
It
demonstrated
partials
the
could
made
it
to speak one
becomes 32 times
speak
truth
We
simultaneously, a single
of
intonation.
for
resonance, no divergency of key, no doubt or uncertainty
the ear.
On the contrary, we get a sound so crystalline and clear, so full and powerful that
of
means
the great masters of the 18*1? century made it their Organo Pleno, the richest
are
expression
troubled
of
Besides, this
the
no manifold
by
polyphony.
is
phenomenon
we might ask
Voltaire's
takes place
in
mechanician to explain:
W. 14267.
whatsoever, of
140
THE ORGAN.
Just
as a
in
ceding
separated
so a sound
pebble
to
from one
another
pond
ever
by
until
distances,
diminishing
sounds, which
other
produces circular waves, which, while remathematical law from their common centre, are
inevitably
ascertained
a well
obedience
originates
into
falling
they
the
seem
finally
which
but
to
blend,
nevertheless
produce a good
effect.
These secondary tones that are generated by the fundamental tone, these circular waves
around the spot where the pebble disappeared, these harmonics which the orchestra has not
the Organ either one at a time, or in groups,
yet succeeded in reproducing, are employed by
at
grading
his
this
most
recent
with
Xylophone
calm
infinite
backbone
becomes more or
other
be
to
made an
has
Saint -Sae'ns
less
completely
ingenious application of
altered,
more
af-
the
or-
having
Erard.
the
Foundation- stops,
corresponding
to the
Strings
in
Mixture- stops.
of
the
or
of
and sweetness.
from the
tained
with
one
the
seems
Pianoforte
than
as
changes.
Concerto,
the
of
according
instrument
Pianoforte
are the
that
chestra,
of
the
them;
the
is
It
of
of
The quality
theory.
finity
one
any
timbre
intense,
In
will
the
Bach's
Reed-stops
any
as
Organo Plena,
manual.
on the
If
movement
and the registering, at the beginning of their compositions, it is because, only making use of two rates of movement always the same,
Andante
and Allegro (when perchance they want an Adagio they mark it), and nobody, consequently,
neglect
rates
the
indicating
of
being
able
suitable
Berlioz
If
fit
of
speaks
for
only
organist
music for
Berlioz's
to
comparable
that
with
spicy
quartet
with
consumption
a
of
String
instrument:
books
three
his
to
have
is,
at
totally
same
time, the
his
effect
parts
He gave
Chorals.
of
all
been
the
of
dressing
illustrious
of
most
one
visitor
the
most
insight
and
intense
characteristic
of
the
mech-
into the
anical
of the
side
question
Bach appeared
only:
Berlioz
to
Here a curious
remark may be made. If, in the history of art, there are two techniques
opposed to each other, certainly they are those of Bach and Berlioz.
two antipodic minds, these two inhabitants of planets far distant from each oare
ther, these two travellers setting out in opposite directions, have the same tendencies,
attracted towards the same horizon, are
the
same
ideal.
are
both
pursuing
landscape
They
diametrically
Yet these
painters;
both
are
is
above
musicians,
When there
the
text
of
imagination.
at a
spring
green
It
proof.
is
is
fascinated
one of
When
these
the
festival,
background,
needless to
they
are
all
chorals
did
of
composer
point
out
sings
the
to
the
is
because
musician's
the
wishes to insert
as his music
not
of
May,
he
same tendency
#
*
*
J.
W. 14267.
instinctively
in
Berlioz;
chooses
all
his
Whitsuntide.
works
afford
ample
THE ORGAN.
II.
reed-stops were rare in the Organ. One or two only were to be found on
and
In
they were exclusively destined to play the Solo theme of the Choral.
manuals,
In
the
were
not
introduced
into
Arnstadt
the
first
to
which
general they
polyphony.
Organ,
Bach was appointed, out of 24 stops there was only one Trumpet. At Weimar the proportion
Bach's time,
In
the
was the same. At the church of Leipzig University there were three manuals, 38 stops, and
one poor Chalumeau!
At the church of St Thomas in Leipzig there were 31 stops, one Cremona,
and one Trumpet. On the other hand, several reed-stops were always grouped on the pedal;
usually a 16 ft. Trombone, an 8 ft. Trumpet, and often a 4 ft. Clarion, forming an excellent
bass to the mass of the foundation -stops and mixture- stops on the manuals.
For
the
last
number
the
creasing
have proportionally
in
at
of
stops, as
quality
no
is
it
heavy;
longer
parts, as the
ious
background.
are in the
Berlioz
The
possible, as
with
white
lace
of
designs
strata of
and
medley
air
set
of
tangle
in
the
old
can
be
seem
motion
the
in
sounds,
Organs, to follow the progression of the vartraced when thrown into relief by a dark
be
to
savage
thick
and
speaks.
we must add that this modern Organ meets a new requirement: the necessity
adapting the masses of sound to the size of our cathedrals or concert- rooms.
Formerly, music was performed in churches of relatively small dimensions; the instruments
were not very powerful, and the choir was composed of very few singers.
Palestrina's choir
consisted of 32 voices, Bach's of 16 only.
Even when, by way of exception, an Organ with
100 stops was built, no one ever dreamt of using more than 30 (say) of these stops simfor it was impossible, on account of the material weight of the mechanism,to couultaneously,
A hundred stops meant 100 varieties of timple together more than two manuals at once.
but
nowise
the
whole
mass
of
such
a
of stops.
number
bre,
So that our Full Organ has had to submit to playing a more decorative than polyphonic
part.
Nowadays, some care has to be taken with the enormous volume of sound produced
However,
of
search
masses
These
dosed.
in
in
the
parts
breathable
of
16
of
ft.,
ft.,
medium, where
air,
in
order
and 4
ft.
are
they
avoid
reed-stops
stifled.
It
suffocation
to
is
and
cannot
be
possibly
indispensable
absorption
by
to
for
written
rise
the
in
higher
formidable bass-
stops.
It
is
needless to try to
ther too
nearly
akin
to
conceal
that
of
the
fact
Brass
that
Bands.
the
ideal
Forgetful
of
of
this
the
modern Full
traditions
of
Organ
is
ra-
sunny land of Counterpoint, it remains cooped up within the narrow limits of struck
and
harmonies according to a few set formulae.
chords,
a
reaction has set in: of late, works have been specially written with a view to proLuckily,
ing
the
back
to
decadence, and French organ -builders are now coming
which
the
their
native
had
in
with
held
esmixture-stops
Germans,
good sense,
always
teem.
unwise
Besides, did not the genius of Aristide Cavaille-Coll alway turn a deaf ear to
inconsiderate
and
advice,
criticism,
momentary impulses?
testing
against
this
artistic
those
In
the
Organs
of
St Sulpice,
not great
masses
reed-stops always balanced by equally large masses of mixture- stops? One of Cavaille-Coll's
chief claims to celebrity is based
upon his having given us these means of unveiling, of contemin
all its
and
in
its
true light, the colossal work of the master of Eisenach,
of
plating
brilliancy,
of
hearing Bach as he wished to be heard. Cavaille-Coll's instruments, with their admirable tones and
their incomparable
mechanism, have attracted and passionately interested a number of composers,
varied, supple,
***
J.
W. 14267.
yet
142
THE OKGAN.
III.
The
and
tition,
held
in
it
surpass
50
last
The
of
all
but
this
principle
that
true
its
years.
of
invention
keyboards
The sound
Pianoforte.
if
nevertheless
is
it
ingenious
number
own against
principle,
organ -builders,
the
its
of the 18*!) century Organs has, so far, defied compemodern systems, whether pneumatic or electric. Nothing can
mechanism
the simple
of
solidity
is
the
affecting
the
instantaneous;
is
direct
in
contact
of the
will
sonorous
with the
will,
servant.
obedient
and
an
Barker,
without
Certainly not.
pneumatic or electric systems?
the organist and the sound; he strikes a
They are like insulating bodies coming between
another
of
an
unconscious
wooden
mechanism, which seems to transmit to
piece
keyboard,
much
as
Could
more distant
what
at
not
said
be
moment
precise
motions
the
after
with a soul:
communication
in
mechanism
of
piece
the
for
of only
before
circulate
lately
is
has
tubing through which it
consumed that the Full Organ freof
length
is
not
following
moderate
in
quavers legato
the
virtuoso
seem very full, not to speak of the slowness of speech of the reed-stops.
observed an Oboe so slow of speech that it did not admit of playing a scale in
does
quently
reaching
The
approximate precision.
consented
key
I
idea
of
adapting
suppleness
to execute
It
to
respond
dumbfounded
stood
Recently too,
had conceived the
tempo!
to
the
before
the
to
action
wonderful
the
pneumatic
be
from
or
to
this
the
stop
key, to
wait
till
finger.
invention
to the
action
expected
crescendo,
the
of
of
Swiss
Swell.
who
Of
course, neither
It
was impossible
contrivance.
sound
inventor,
when
it
had reached
certain
put
in
an
two
appearance
Barbarous seems
brought
With
iterated
before
bars
too mild
assizes, and
the
late.
finish
their
days
in
prison.
the
successions of chords,
its
shakes,
or
qualities.
Perhaps the electric action is a trifle superior. Perhaps iterated notes and shakes come
out better,
but
would not vouch for it; electricity being impulsive, "uncanny" and changeI
able
by
nature,
we must
However, what
cannot treat
tice
of
side
the
It
am
of
some modern
may
liberty,
be
sure
prepared
of,
is
that
for
surprises
nothing
equals
this
if
J.
W. 14267.
one foot at
148
THE ORGAN.
When
for the
writing
moment
the
Organ,
composer so contrives
his
the
right
The system
and
reason
feeling,
required,
is
one
obliged
to
afterwards
returning
foot
quit
once
his
passages
he
meant
ing
out
touched
barely
fingers
smash them.
to
an Open
Diapason,
When,
the
up against
of
vigorous singing
mortified, he said: "So
somewhat
must
the
stops
of
great
masters.
Organ
as
to
the
I
the
against
with
singers
he
abuse
of
which
rollers
them
in
the
what
to
had
and
is
pianissimo
of
if
bearing
astonishment,
finger
of
and
ends?"
mechanically
performance
keys as
incapable
great
my
In
struck the
took
Flute,
in
in
strength enough
those
against
Solo
observe
flute -stop.
single
in
have
of
all
own playing.
forte passages
ivory;
towards the end of the piece,
so much
not
also protest
their
the
order
in
to
listen
to
order
in
keyboard,
keyboard as if nothing
the
to
while, contrary
idle,
the
We
hands
his
keeps
barbarians
of
variety
one of the
combination -stop
happened.
What would
turn
other
this
artistic
the
seize
of
to
open
all
the
Now and
risk
of
where
in
the
bumping
Stretto.
And here we are come back again to the time of the wretched man with the diseased brain
who gave Berlioz such unreliable information, and played him Bach's music tricked out with
Bombardes and Clarions.
In what
cracked brain could the idea crop up
quartet?
and bangles, till in the end
little
by little bedizening a fugue with instrumental spangles
would seem to be masquerading about in the guise of a Symphonic Piece, accompanied by
Is
of
it
not
a fugue
and
Fife
in
reality
simple
Drum Band?
IV.
the time of Berlioz, the Swell was known, but was still very imperfect. What is its origin?
would be hard to say. England claims the invention of the Swell, attributing it to Jordan
(1712), and we know that Handel was able to admire one of the first specimens of the new
invention
in
London; we know also that about 1780 the Abbe Vogler recommended its use
In
It
to
German organ-
ification
tion.
of
of
intensity
but
this
very
ingenious
means
of
creating
the
impression of a mod-
So that Berlioz
creating
sudden
consequently of
tones
of
the
almost
builders,
all
blending
former
occasions"
the
being
Organ
and
the
incompatible
he says,"when
this
Orchestra
with
singular
J.
into
the nervous
one
combination
W. 14267.
harmonious whole,
sensitiveness
of
the
cold
the latter.
"On
THE ORGAN.
the Orchestra, or else the Orchestra, having been raised to unOrgan very much "overcrows"
due preeminence, well-nigh drowns its adversary"
It
is
How times have changed! Nowadays, no concert- room is built without its Organ.
now possible to graduate the sound mass, to pass suddenly from an imposing fortissimo to
an almost imperceptible pianissimo, and, when accompanying a singer, to follow all the
of vocal expression.
lights and shades
that this "expression" of the modern Organ can only be subjective; whereaware
am fully
the Pianoforte and the
human
as the Strings and the Wind instruments of the orchestra,
the
and
of
their
account
on
are
spontaneity,
Organ,
impulsiveness
I
its
in
wrapped
can
only
it
alone among the instruments
like a philosopher;
primitive majesty, speaks
the
idea of Religion out of the
furnish the same volume of sound, and generate
captivating
voice,
ever
for
the
least
cise
No, the
conception of Infinity!'
there is nothing that
is
engineer's
to
forte, following
the
its
outlines, which
should
plan.
The Philistine who "sentimentalizes" on the Organ forthwith turns the instrument of MajesHis outlines are like the wild zigzags of a weatherinto a big accordion.
ty and Dignity
brush carelessly passed along a dusty wall.
a
featherchart, or the marks left by
enable us, with almost too ready facilitate emis
It
precisely because our present means
we must avoid all disrespect towards the majesty of
body any and every musical idea, that
the
tic
and
Organ,
feeling.
convert
that
Otherwise
challenge
Thanks
by
of
with
to
their
Swells
opening
sound.
Then,
arrangements of
symphonic
skill,
ft.
in
Organ
the
simple 8
heavy, clumsy
etc.
pieces,
those
witness
a pseudo- orchestra,
into
it
we must employ this "expression" with conscientious reserve and artiswe shall ignore the essential characteristics of the instrument, and
is
nothing
than
easier
to
compete
with
the orchestra
in
point
suppleness, and to keep the Organ constantly well balanced with regard to the orchestra.
So, here we are far from the supposed antipathy between "Emperor and Pope" of which
Berlioz
speaks.
us to doubt
this
case
whether
too?
ever
it
existed.
really
mass
not
Berlioz's
Bach's
vocal
Is
of
ignorant
work point
of the case
guide
to the
to
leads
blame
in
con-
opposite
not entirely based upon the suitable combination of the Organ with the Orchestra? And was not this combination satisfactory even at a time when the Organ was
not expressive?
that
Listen to the "arrangements" of Bach's Cantatas for concert - rooms
have no Organ, and compare the effect produced with Bach's original version. And what a-
clusion?
Is
it
bout
Handel
and
If
Berlioz
were
were so unfairly
union of the two
manifest
furnish
his
Concertos?
still
alive
instilled
former
into
would
he
his
rivals,
forswear
his
views
of yore, or
that
mind.
"the
number
J.
W.
14267.
of
recent
compositions
could
quote
145
THE ORGAN.
What was the Organ like in former times? When did the manuals become more numerWhen was the pedal invented? No one can say for certain. Two or three broad facts
are known: Some 200 years before the Christian era,
attempts were being made to improve
ous?
the
bellows;
was
to
the
a fair
nish
idea
with
artist
ful
The
ody."
with
ing
not
is
of
its
swift
made
which, being
us
gives
to
in
Romans,
Vitruvius
pressure
construction.
fingers
vibrate
directs
of
water, and
pretty
the
Hydraulic
instrument, sufficiently
Vitruvius, the Emperor
And after
means
by
by
softly
Caesars,
the
of
description
means
the
of
action
his
of
touch
the
the
keys,
valves
breathe
Organ
is
and complete
to us.
to
fur-
mosaics, and terra-cottas of those times show the organist standan attitude which proves that the pedal was
projecting above the pipes
bas-reliefs,
head
his
known.
yet
The
Circus
not
very
The
Organ emigrated
instruments
must
have
been pretty
large;
had
they
several
keyboards?
It
likely.
with
the
came back
and
fourths
to
Emperors
the
fifths, first
suggested
the
idea
We
case
al.
to
of
of
In
hardly know anything of the history of the Organ during the Middle Ages.
any
cannot have been of much use, music being at that time almost
exclusively choronly begins to attract attention again with Frescobaldi and Scarlatti, under the fin-
it
It
gers of
the great
The classical
or three
(54
notes),
and
the
latter
likewise
notes).
Manual.
*>
Pedal.
beginning
at
CC
and
rising
to
146
THE ORGAN.
builders
4>
Manual.
Pedal.
now go up
to
C in altissimo,
THE ORGAN.
VI.
To form an idea of the amount of music modern Organs have given
The mere list of composers inspired by the Organ would
Paris, the
In
ing
Lemmens,
from
collect
to
his plans
the
Organs
in
the
very
been
far
of
fill
all
set
builder
skilful
for
one came
thus
production
virtuoso and a
of a great
from
all
their
groping
publish-
a large volume.
of a
sudden, the meet-
ers' catalogues.
instruments.
Thanks to them, a few years have given birth to more works than all the hoary past. And
movement has not been confined to one centre only; it has spread from country to country,
this
influence
its
making
there
Is
well
everywhere.
present time one single country that is not justifiably proud of a fine
an excellent musician?
Is
there any fine instrument which has not spurr-
the
at
felt
Organ
pretty
played by
the imagination of its organist?
When, by the mere depression of a finger, the organist
strain on poor
ation, and that too without the slightest
ed on
obtains
a note
human lungs
dur-
of unlimited
when he
feels that
the
the
style
]ie
is,
And
that
the
if
music
gan
befits
exactly
essential
it.
good
them
possesses
certainly
of
qualities
in
are:
style
the highest
degree,
to
mention
minor
other
excellencies.
The great
voice
of
heard
under
stone
strive
after
effects
the
roofs
obtained
maximum
of strength
by
have neither beginning
to
means
nor
more
or
the
of
ever
the
He never loses
and precipitation.
Organ attains
virtuosity, the
of C,
by sustaining tones which
the
seem
end.
plan.
come and
diseased
less
common chord
his
it
works
the text,
in
order
to
definite
there
give
and
never
troubles
the
serenity
of
his
audience.
And
this
fillings- up.
proper place,
When
or of
It
the
the
what
presence
bow down
or
like
Organ does not admit of the use of set formulae, commonEvery note is meant to carry, and should, consequently, be in its
Stringed Quartet, which eschews superfluous ornament.
of
the
expressing
In
voice
great
places, and
in
is
let
reverence, and
imagine
Roman Coliseum.
J.
W. 14267.
constructions
to
move
to
of
the past;
song Egyptian
let
us
Pyramid
148
Chapter V.
The
Strings,
THE
1.
needless
is
It
has not
minute
give
time
the
since
changed
maximum
Its
to
account
Fr.,
mechanism
the
of
Violon.)
of
Beethoven.
of
may be
compass
VIOLIN.
Ger., Violine.
(ital., Violino.
stated
as 3 octaves and a
fifth:
f
But,
It
the
in
tained
f''
by a fairly
B\>
in altissimo
*, unless
rest
long
(at
if
B!>
Btj,
N. B.
ner and
C,
CjJ,
above
if
tolerably
notes
con-
impossible to play
above.
Bt>
without
to
of
up to by conjunct
moderate quadruple time),
led
preparation,
still
more
this
the
160).
Wag-
is
and
in altissimo
However,
2.
nearly
many
semitones
still
is
it
with
time
is
it
one bar
least
And
case
the
preparation
for the
and
without
employ
fr
attack
to
impossible
or preceded
degrees,
to
dangerous
third:
highest
almost
is
is
it
orchestra,
the
in
may be said
becoming
a number
sonorous;
of
Violins
hence
be the
to
and
thinner
the
highest
occasional
seven
J.
P.
sonorous
on
note
the Violin;
the four
thinner.
their
of
when played
it.
use
positions
W. 44267.
degrees,
by the great
of
the
these
classic
Violin:
notes
masters.
are
149
THE VIOLIN.
4th String.
l?l
position.
2nd
position.
Std position.
4th position.
5th position.
6th position.
7th position.
HH
String.
2^
15* String.
String.
150
THE VIOLIN.
5.
Is
mirable
liant
If
the
it
to
necessary
41!)
string,
speak
rather subdued
the
of
qualities of tone on the Violin: of the adtimbre of the 3!^ and 2"d strings, of the bril-
different
of the
15*
string?
a theme be given to the fourth string,
loudest, the power of the tone being
ever, the
limit
quality
and
full
in
proportion
of the
the
to
of
length
up to Treble
homogeneous
lower
octave
will
the string.
(7tJ!
position),
be
Howwhich
exceed.
unwise to
is
it
remain
will
Moderato.
am aware
Moderato.
that
-&,.
in
solo
notes can
higher
reached:
be
(^^T-
j>b
(Widor, Concerto?)
but
in
for
writing
the orchestra
it
would
be very imprudent
to
go
beyond C.
Double Stops.
6.
It
is,
of
course, easy
to
play
all
double
stops that
include
an open
string.
EASY:
all
sixths.-
from
EASY:
up
major, minor,
all
to:
va.
so
'
from
up
to:
EASY:
from
POSSIBLE-,
~-jL-
all
from -Af-
POSSIBLE:
all
up
POSSIBLE.-
"
up
to:
octaves.-
-6
from
fez
\>3
this
to:
From
fa.
to:
\f<
difficult.
POSSIBLE:
JflSKY:
major seconds.
minor seconds which
}
should
J.
only
be used
W. 14267.
with
great
care.
THE
As
8.
in
for
consider
to
the
perfect
may be as
It
stretch
It
is
well
the
for
possible
to
hand
in
hardly perfect
orchestral work;
F C on the
beyond
the
repeat
is
it
fifth,
as very dangerous
it
is
151
VIOLIN.
string:
the minor
ninth:
4:
maximum
the
'-jE
9.
We now give a list
mon chords on which they
MT Sechiari, Solo Violinist
of
major ninth.
sevenths
resolve.
of
(For
in
all
keys,
much assistance
Lamoureux
the
and
of
matter
this
in
the com-
of
am
indebted
to
Concerts}.
crosses +
that
are
Resolutions
show the
impossible
not
specially
difficult
in
the
or
minor
marked
are
unsonorous
chords;
the
C.
fl
In 3 parts.
* show
the resolu-
mode.
possible
in
either
mode.
asterisks
152
THE VIOLIN.
'<?-
In 3 parts.
.H
Resolutions.
.1
.'
T>
*4
Pjt
f"NP
J,
possible in the
minor mode
only,
4
lit
In
4 parts.
r*p
rra
,,
Resolutions.
""
'Tg-
I
:
'
i
'*
M*
possible in the
Cjj.
^g
In 3 parts,
4^
j^g
H--
+
Resolutions.
'
ti
-au
if
4
H*
^
"^
i
. ,
In 4 parts.
^E*
D
"^
;j-ii1^
^ 8^"
i
o^o
oo
mode
a-
n
.
1^
a* s
^-^-r^P^
ffft
33F
ffTrt
p
possible in the
1
minor mode
In
only.
_,
&-^'fl-P-
Resolutions.
,o
only.
Da.
In 3 parts.
rtr
Off
zr
5 *M
OH
H
#
Resolutions.
r
:
Fj(
on the 4th
**f|.i
r4
String-.:
J.
W. 14267.
THE VIOLIN.
m
i=p32 ^
In 4 parts.
Resolutions.
.- 'J
__t**i
/JK
<
vr4
,TTK
._,477Z;
153
ozr
^4
fei
^^^
^^^
t*1o
'o~
4t>
In
E:..
In 3 parts.
J5
*
4 k>J
Resolutions.
Oir
^: i,u
^^
+
H
-r
ifc
4^
154
THE VIOLIN.
+
&*
r
Resolutions.
i?
-i-
-j
i
o
o
4,
4-
"YV
T-?
*
-,
mode
only.
4
In
F.
4P.fi
Pa
8
(
to
1>
o 4 !>a
In 3 parts.
J*iJb<ttJ^
t-
Resolutions.
4*
9*
In
*fi
tl iJ I si
L+
S*
+
-r
4-
f:
p-
OP
S7
ra
4 parts.
''
-p-
94
2-9-
2-
+++,^
Resolutions.
Z-9-
4
In
F|.
In 3 parts.
T J
3 a.
4
'
#=7
Resolutions.
ft.
* r
B
^
^f
Jt
i^ii^
4JJ*
J?
ui
p* J*
J: M^*
"Hf
|f
minor mode
9-
+
ii
jJ
Resolutions
TiS
i4
ff
sj?"5 f'j3
.
J.
W.
14J467.
only.i
4 parts.
In
"possible in the
possible in the
155
THE VIOLIN.
In
6.
In 3 parts.
Resolutions.
rrzt
SP
"-S-~~:
*w
'I
*"
In 4 parts.
la
31
g
OS
T?>
:?
+
Resolutions.
FTT
p
"E
r
:r"
e
v
:E
r
156
THE VIOLIN.
,
jCTrjji?
Resolutions.
-*
14
_ *f-
f-
b^^-^rJ^^^Tiglgg^^ ^^ii
''*
i*
fci
-r
*"
..
'
4tts>
_.
In 4 parts.
!o
'f
jo
'
0/
45* *
iJ--
ftp
ft
^ +
:
ti
tin
|O
Resolutions.
,
"
J !p
if-li-J-.
"
r
i
In
In
Bb.
_J
i.
..
,
Resolutions.
*4
^
^t b^
:
*
+
::-;
J _
_
~=^4 - fcrgrmrprf..
s'
9;
'
,1
T^W-.^
2| -ga bp/
_-
|;>jO
&^
te
4't?
\--b-u
*"'-
'
J
In 4 parts.
*
4*
afr
ibi
-i-_i_
b.
b.
bi 3 bi
.^*.
* tl
"
;4i
-'J*.
_i_
jie.
+stl *fisi2 *a
e c
Resolutions.
-
-f
-^
"
rt>irbwb'i- i?i
In
P?P5
ibr
|0
>
TO
|0
To
65.
In 3 parts, w
Resolutions.
J.
W.
14267.
""I*
mode
olily
THE VIOLIN.
157
+
+ ,+
,+
o
ate
o gg
In 4 parts
Resolutions.
possible in the
In 3 parts.
On the three
lower strings.
-&
On
MS
.^
N**1^
aU-f-^p^
^--^^^M^-i^f-^^-y^
4
^^_t__^
In 4 parts.
ir
=^^P^
*
it
b-r
ir
i
Chords of
tlie
In 3 parts.
the three
On
lower strings.
On
--JrU^^^=4^=r^
^
?
^
i^
if
")*
ff
the three
H^
higher strings.:
U
In 4 parts.
r
P
b^
3a
t?qidai
dij
*lt
ftt
it
1>>
in
the following
limits.
Rising chromatically up
* All
may
to:
be written enharmonieally.
158
THE VIOLIN.
Harmonics.
10.
3d,
as a fundamental
Taking
4tb,
and
5ti),
6t!)
note
the
tone
can be
upper partials
by each
with the
of
help of
single
finger
the
string.
touching
we take Fiddle 6 as a fundamental
lightly
If
produced
obtained
we get the
tone,
following
monics:
series
of
natural
har-
Jt
-f-r
TT
1
2"d partial
The
i.
at
e.
the
point
obtained
is
where
the
the
touching
by
depressed
finger
mid -way
string
would
produce
between
the
the
same
and
nut
bridge,
note.
Written:
i.e.
the
by
can be obtained
the
touching
point
where
the
in
at
string
depressed
finger would
produce the
"Written:
or (2)
the
at
equivalent to
of
its
length,
fifth:
perfect
f
\
by
of its
length, i.e.
Sul G.
Q
Written:
-fc
It
\
~v~
The
4U!
either (1)
the
at
by touching
point
the
of the
partial
at
string
in
would
string ,
2"d partial
string.
distance
finger
is
to
of its
length, i.e.
A.
Written:
f
or (2)
the
by
point
of
to
its
length,
at
wqjild
Written:
The
5t!?
either (1)
the point
partial
can be obtained
in
at a
^-
four different
distance from
ways:
the nut
equivalent
the major third:
of its
length,
at
Written:
or (2)
the
by touching
point
the
string
at
a distance
finger
would
J.
from
the
nut
equivalent
W. 14267.
to
of
its
length, at
THE VIOLIN.
Written:
f
or (3)
the
the
touching
b_y
where the
point
string
at
depressed
would
finger
nut
the
produce
to
equivalent
of
its
length, at
of
its
length, at
tenth:
major
dL
or (4)
the
Written:
'<&.
by
where
point
Written:
Remark:
The first two ways of obtaining the 5lb partial are the only ones used in the orthe others being rather risky; with the 3I!f way the harmonic is strangled and does
not come out immediately; with the 4ti? way the tone is very pure, but it requires considerable
chestra,
position,
which would be
more
still
difficult
its
The
partial
can be obtained
either (1)
by
the point
touching
the
string
two
in
at
ways:
distance from
the nut
equivalent to \^
length, at
of its
third:
XL"
or (2)
the
by
point
Written:
'/
to
equivalent
same
of
its
length, at
note:
Written:
this
the
It
indication
fourth
is
on the
If
out
stain
the
the
is
vague, for
of
partial
therefore
this
6tb
(open string)
necessary
to
of
upper partial
indicate
jj^
O
V
the fundamental
ft
is
also
T*
.
is
to
be played
on the
or
string.
first
way
of
or charm;
beauty
from using
the
neighboring string,
producing it is employed, the harmonic comes out with difficulty, withthe second way involves a painful stretch, so it is advisable to ab6tb partial, the same note coming out better as the 4-tJ! partial of
a
fifth
above.
J.
W. 14267.
160
THE VIOLIN.
4th String.
ad
String.
nd
l?t
String.
String.
Harmonics.
Artificial
This
11.
an
by
open
gers, the
Of
this
two
ial
artificial
can
nut,
tone
is
not
note
means
be
sounded
two
finproduced by
only
the other finger lightly touching the string
of
point.
class
harmonics
of
above
octaves
followed;
as an
fundamental
harmonics
artificial
serving
whose
sounds
to
given
These
string.
fore -finger
a given
at
name
the
is
the
i.
only
fundamental;
finger touches the
little
fundamental,
the
the
e.
a quarter
of
the
one
the
string
at
the
explained on
system
way
in
employed
the
distance
between the
bridge.
orchestra
P.
158
of
depressed
is
the
4th
partial,
fore -finger
and
the
Written:
>*
These
artificial
harmonics
are
all
possible from
the
lowest
Ai>
up
to:
S""\"\
12
can
ger,
Other
be
i.
e.
artificial
obtained
a point
Written
-^
!;
It is
W. 14267.
THE VIOLIN.
13.
bove
161
The 5ti? partial can be produced by touching with the ring-finger the major third athe depressed fore-finger, i, e. a point a fifth of the way between the
fore-finger and
the bridge:
J
~
Written:
but
this
not
is
Remark:
may know
often
tone
of
so
obtained
is
poor.
composer may write any note, putting a zero above it, so that the performer
this note is to be produced as a harmonic, leaving him to choose the best means
careless
that
of execution.
In this case, the composer must not forget
till G in alt:
command
From:
Below this G; he has at his disposal none but natural harmonies, which are limited to
of the perfect major chord on each string (V. List P. 160.)
the
notes
Bowing.
When
bow
drawn over the string from the heel to the point, the
to be playing a doivn-bow, WTien from the
point to the heel an up~bow,
when
indications
are
used
needful:
following
14.
the
is
violinist
said
When
down-bow^
varying
but
widely,
beat, and
accented
it
Down -bow u
Fr.
Tire.
Up -bow
Fr.
Pousse.
and when an
be stated
may
up -bow for an
an
and
is
the
is to be
used, it is not easy to decide, cases
a general fashion that a down -bow is used for an
unaccented beat or an unaccented part of a beat.
up-bow^
in
Varieties of Bowing.
The
15:
Grand Detache
length, from
the
no slur being
heel
to
the
of
its
produced by using the bow throughout the whole
and
vice
the
bow
never
the
and
r>ersa,
point,
quitting
string,
is
written
/
A powerful tone
If
the
effect
made use
of,
note
requires
with
the
is
but
the
is
to
thus obtained.
be
then
not
there
repetition
of
only
is
powerful,
but
even
violent,
the heel
the
it
becomes
uuu'uuuuuu,,
fL
J.
W. 14267.
the
bow
alone
is
Grand Detache.
Moderate.
of
of
163
THE
Detache Moyen
The
and a
still
tempo
Detache, which
The Martele
as
with a
if
is
a third
by using
of
the
bow;
it is
intense tone
sufficiently
The Petit
obtained
is
VIOLIN.
used
in
rapid
tempo,
can
is
used
in
rapid
very
effects.
is
extreme
the
with
played
the
of
tip
bow,
drily,
hammer.
Vivace.
r
It
The Sautille
well
obtained
is
as forte.
great
especially
of
notes suit
Iterated
it
but
capitally,
the
by making
is
it
lightness
of
devoid
absolutely
of
strength.
Presto.
Some composers
quite
of the
bow, and
detaching
by
This is
by the word Staccato.
to
the
middle
from
the
an upbow
point
Sautille
the
indicate
the
mistake,
improperly
very
each
by
written:
note;
Allegro.
Frequently
ficulty
of
ver used
used
in
the
solos,
it
with
executing
the orchestra.
Staccato
is
As
regularity.
rare
for
the
in
the
orchestra,
on account
of
the
it
dif-
is
ne-
in
Are
bow, the
all
possible, whatever
the
even
number
it
of
articulations.
well not to
is
has to be performed:
Allegro moderate.
17.
ber
are played
der the slur:
with
the
same bow
Loure
This
is
by
is
little
articulated, although
num-
un-
cantabile passages,
and
Andantino.
This
is
is a
very good means of expression, very
one of the favorite devices of modern art.
J.
W.
much used
U267.
in
163
THE VIOLIN.
The
18
way
will
It
suffice
to quote
in
is
the
Pizzicato.
two following
used
than any
description
could:
Oboes.
Clarinets.
ist
Violins.
Violins.
Violas.
Violoncellos.
Double-basses
(Gevaert.)
pizz.
Allegro.
arco.
pizz.
Violins.
Violas.
Violoncellos.
Double-basses.
(By kind permission
It
than
is
Remark.-
Arco
to a
More time
is
to
Arco, and
bow again
Pizzicato passage.
J.
W. 14267.
vice
(DelibeS, Sylvia.)
versa,
in
quicker
pass
tempo
from
an
THE VIOLIN.
The quality
19:
the
of
Pizzicato
is
uniform
fairly
from
Fiddle
to
E in alt:
f
but
from
this
E upwards,
in
proportion
becomes
tone
poorer.
However, here
ly
forte
good
is
or
Pizzicato
rising
up to
C in altissimo^
of
is
equal-
pianissimo:
poco a poco
rit.
,
Violins.
yy
m^
Violas.
poco a poco
_
a tempo
'^=z
'..^..7
yy
Violoncellos.
7_|
-7-
I
I
Double-basses.
y/
rit.
a tempo
a tempo
^fe
rit.
^3:
7T
=*3
ff
*
i
vr'
(By kind permission
rf*
(Philipp, Serenade,
orchestrated by Malherbe.)
Remark:
This final C in altissimo # would be impossible if it were not reinforced
by the
tone of the chord #iven to the 2"d Violins.
Thus placed, it cor.ies out with a tone nearly
clear as on the Pianoforte.
The last high notes, ased
alone, become thinner and thinner,
panied by an open string, they are admirable:
Excellent:
'
~j
J.
W. 14267.
but
when doubled
or
full
as
accom-
THE VIOLIN.
The maximum speed possible
20.
Pizzicati played
for
in
semiquavers
is
be long.
not
104)
(J
merely a question of
is
Excellent:
Struck Chord:
* The
it
e. g.
slur is necessary,
Harp.
Presto.\
Impossible:
N. B.
like
if
a Violoncello.
21:
the
All
we mentioned
chords that
9 can be arpeggioed:
in
Vivo.
thus:
into
two
more groups:
or
Viro.
The
22:
crossed
old
tremolos of the
1* and 2H^
is
out
passing
fashion
of
and
being
replaced
by
Violas, etc.
Violins,
X
Instead of writing:
nowadays
former
However, the
when nothing
better
tremolo figure
minating
this is preferred:
tremolo (X)
could
may
be
finish
off
A.
(*
more sonorous
is
used
(JL
in
order
fo
than the
reach a
on an unaccented
latter (Y),
cases
of
the
a cul-
point:
(Parsifal?)
(By kind permission
legno
there are
fortissimo.
part
Allegro.
23:
and
When
are
the
written
is
to
of Schott
be
&
employed
J.
W. 14267.
for
a special
effect,
the
words
col
166
THE VIOLA.
Grr., Bratsvhe.
(Ital., Viola.
but
thing
Its
been
has
that
All
1.
Violin
compass may
be
about
said
said
the
Violin
lower, and
a fifth
tuned
to
Fr, Alto.}
the
to
applies
consequently
rather
of
which
Viola,
larger
is
in
reality
no-
dimensions.
3 octaves:
comprise
TT
By
the
transposing
mechanism and
the
fingering
stretching
We
2:
fifth,
the
Violin
are
the
same
for
in
the
slightly
the
of
fifth
and
octave
the
-4
On one and
Here
the same
an
is
of
are
violinist
the
On two
just
ers
touching
leave
will
In
either
ones,
the
fear of
out
case, they
As on the
3.
will
^?
play
altogether,
will
Violin,
think
and
bow not
touching
all
to
reach
could
On one and
the same string,
the
hand
sounding
very
the
little
of
four-stringed
would
with
the
strings.
-&
* as
follows:;
only.
said
to
On two
ij
an asterisk
composer.
instruments, the
much stress
.;
~&
do on the
higher E
Violin.
strings,
Viola.
=f
i
diminished
composer:
venturing
bring
one of the neighboring
strings.
Very sonorous
the
limits.
respective
the
it
strings.
performers
diminish
Viola.
~&~
Conscientious
obtained;
string.
impossible
are
Viola
Viola, which
the
of
Violin.
the
fingers.
fifth
perfect
of
instruments.
dimensions
larger
Viola, the
those
lower,
both
that, on
two
and, on
On the
lies
capabilities
noted
of
positions
Less sonorous.
Very sonorous,
strings.
J.
W. 14267.
jj
Less sonorous.
for
167
THE VIOLA.
Double Stops.
Are excellent
4.
or possible:
all
from:
All
|J
jg
jJ
perfect
to:
up
to:
up
to:
All
"P
thirds.
from:
All
to:
All
up
sixths.
All
octaves.
from:
All
up
We
5.
remarked on
approximately
true,
extreme
of
In
er
in
to:
the
limit
case
orchestral
to:
P.
8, that
151,
and we repeat
the
of
the
Viola,
it
is
Fjf
the
Violin
JP
was F C
=.
writing.
J.W. 14267.
It
^
would
E.
168
THE VIOLA.
The
resolutions
crosses
in
impossible
Resolutions
In
+ mark
not
the
specially
marked
C.
unsonorous
or
difficult
the minor
The asterisks
chords.
show
the
mode.
are possible
mode.
either
in
3-6
In 3 parts.
Resolutions.
in*
'
ai
IE
4o
to.
3H
In
4 parts.
'-'
Resolutions.
r
In
D>>
(or C||)
-^^zzTzzg
In 3 parts. H
Resolutions.
_ _
r-
4l>
.
In
=$
4 parts.
l_k
Resolutions.
In
Da
te
In 3 parts.
|.r
is
"
To
Resolutions. 3
nj
40
.
1*0
"2*0
1 1
J.
W. 14267.
THE VIOLA.
a
In 4 parts.
169
dP
to
aP
"-
dP
'
a
20
it?
Resolutions.
<f~ ip
In
_
1^=4-4^=
In 3 parts.
js
i*
>*
L*
b*
(>
,!>&
|g":Z
.1
Lt>jt
t>
JzS
I.
!>
41
14
4^
*
Xl>^
y,^ jI'.gL-H
4bi
f
t
y=if
if
3J>
i>f-
"
\>W
o!
*'
In 4 parts.
1
Resolutions,
^
>'
jj
I
In
,_!
Eq.
i
In 3 parts,
;
j
T
r
T
T
fl*
Easierlin the
minor mode.
fir
ttp
r=&
^-r
Resolutions.
possible in the
In 4 parts.
j[g:
Resolutions.
40
j
'
In 3 parts
Jfi?
b,
n
20
40
mode only,
170
THE VIOLA.
*
ib
is_
difficult.
,
+
W
\>
(.5
!>
In 4 parts.
'-!-'
-2
^.
In
=*
Resolutions.
r
00
r
I-
Gk
In 3 parts.
*.
-
'
vp
Resolutions.
iU*
y
i/
p
1>
W ^t
r
i.
possible in the
In 4 parts.
Resolutions.
possible in the
Ft
^-
-^
jU
.^
l
In 3 parts.
"*"
TP
,o
^^
Resolutions.
possible in the
In
4 parts. ffi-+fc
00
-JResolutions.
possible in the
Resolutions.
40
J.
W.
20
14267.
171
THE VIOLA.
40
In 4 parts.
^-
+
Resolutions.
In
Resolutions,
Ak
N4
gfr-^jg
4-
178
THE VIOLA.
10
4|,
*^
Resolutions.
4|.
r "^
In 3 parts.
ant:
4 g
s)
poss: in the
* o*
5
!
B ..
i^f
10
4Ja[_
Ini
10
.[0
3JO
or
U.
Resolutions.
+
la.
r
In
4 parts.
-^p
*
Resolutions.
In
B:.
In
3 parts.
IP^
Resolutions.
F'F
possible in the
i
In 4 parts
te
Resolutions.
1^
possible in the
On the
lower strings.
fi
IH
ti
3 =t
J.
W. 14267.
173
THE VIOLA.
te
On the three
higher strings. J
te
h.
-^
In 4 parts.
tC
t_
&*&
IH
On the three
^ree
m_.
lower strings
ings.
y_
r
On the
t-
'J
three
higher strings.
'"
'
&*
If:
!*
In 4 parts.
|
On the
lower strings.
In 3 parts.
On
the three
higher strings.
In 4 parts.
Easy up
J.
W. 14267.
to:
THE VIOLA.
7.
As on the
Violin,
all
and subdivided
groups.
4tJ}
String.
String.
fl
2"d String.
String.
into
any
kind
of
175
THE VIOLONCELLO.
(ital., Violoncello.
Its
1.
about
is
compass
Ger., Violoncell.
and a
octaves
three
Fr., Violoncelle.)
third,
from
Double
to
above
Tre-
at
once
C:
ble
This
the
here
is
sonorous note
last
harmonics
by
the
on
'the
depressing
Above
as
given
obtainable
limit
orchestral
in
the
depressing
by
so
instrument,
string, or
E the notes
this
extreme
the
writing,
string,
can
that
because
and also
one
it
is
the
of
best
either as an
it
performers
play
ordinary note,
as a harmonic, according to circumstances.
become harsh and painful to the ear. Of course,
am now
I
and not
of
the
can
Allegro.
(J.
The
27
fingering
the
essential
the
this
A upwards, the
of
execution
and
to
clef,
natural
avoid
it,
part
each
on
all
in
the
the
of
of
its
fingering
the
is
stringed
lower
the
e.
the
in
of
that
the
by
the
the
we have
Cello,
orchestra.
of
lower
but
the
Violin
and
From
register.
different
same as on
instruments
register
for
i.
produced
is
from
differs
compass,
semitone
when writing
>!:
Cello
Viola
throughout
Double
finger
to
but
all
in
from
above
(in
the
HnH-i*-H-iJ-*-'H
1
(Widor, Concerto)
clef)
it
is
better
THE VIOLONCELLO.
Thumb
Positions.
method
3.
Above
this
same as
the
being
fingering
it
note,
fingering is this B:
of
of artificial
the
"nut','
on the Violin.
Some
"Thumb-positions" are sometimes used in the medium, or even in the low register.
e. g. octaves, which are
executed
in this manner
be
can
always played with
passages
only
one single
kind
of
*>:
The very
fingering, viz.
j
1
j
1
sag
i
J
Ji
f_
'
(The
"
[*
are quite as
figures to be found in Rheingold (P. 287 to P. 289)
the use of the thumb on the G, D, and A strings as they are with
difficult
without
impracticable
the employment
truth
Thumb -positions
4:
from
suddenly
thumb
is
very
risky,
should,
is
adopted,
it
is
in
position
execution
of
intonation.
of
note
which
string, in
en if the
the
of
secure
to
difficult
the
of
harmonic
is
is
finger
come
will
out,
ev-
5.
the case
in
of
the
and
Violin
Viola,
the
first
of
string
the
Cello
is
one to which the melody is usually given, and which creates the most intense impresliant,
sion.
The veiled quality of the second string is also very useful. The third string even,
may be used in a solo with very good effect, but it more frequently has the bass of the
the
harmony
a
to
On each
fourth
like
play,
considerable
of
the
whose
fourth,
full
where
Violin,
be reached.
even
the
be
The
6.
following
Instrumentation,
If
curious
or
in
is
able
to
sustain
the
weight
of
eleventh
on
tone
quiet
mass.
octave can
string, the
string
the
orchestral
fact
any
is
not
string;
as
mentioned,
School.
Violoncello
3*
far as
am
aware,
is
in
any Treatise
ance:
liiv
on the
string,
fri
this
may
be the maker.
What
Blj,
C,
can
Ctf
on
this
the
be due
to?
Why
second, equally
are
not
Ak>,
A!],
Who can
bad?
B\>,
explain
Bl|
this
and
Bt,
mystery?
boring
strings.
J.
W. 14267.
177
THE VIOLONCELLO.
We
8.
have noticed
an
string, is
maximum
the
that
stretch
augmented
the case
in
of
the
single
Viola.
but, for
hand, on a
violinist's
Violin.
and,
for a
possible
fourth:
stretch
a major third:
is
possible
Violoncello.
Pizzicato.
The shorter the string
9.
No
somewhat;
however,
write pizzicato.
to
the
duller
is
ening
think
G#
effect
of
in
what
the tone;
drier
G|,
is
distant
used
the upper
is
the
highest
behind it a
enough to leave
on a
landscape
as follows
it
is
limit
hot
still
for
pizzicato
play-
performers and
as both
considered
be
may
sonorous
still
over a
haze hovering
bluish
the
definite
instruments vary
notes which it is safe
vibration
that
recalls
summer's day.
satisfactory, thanks to the strength-
Allegro.
Fizz.
semitone
Bi>
tainly
not
is
higher
be exceeded.
somewhat
dry;
in
case of need
it
may
be written, but
cer-
should
wish to call attention to the fact that some conAs we are dealing with pizzicati,
do not trouble much about the way in which the players execute pizzicato passages,
and hardly seem to suspect of what an amount of variety and manifold shading this style of
10.
ductors
playing
question
is
Truth
capable.
to
their pupils,
many
say,
will
teachers
deserve
their attention
tell
they
you that,
they have never thought the matter over, and consequently
This is a mistake.
fashion, without any special intent.
point,
11.
We
Viola,
happy-go-lucky
and
in
same paragraph,
which
Harp glissandos.
We also remarked
can
that
be
this
arpeggioed
in
any
Pizzicato was
Violin.
impossible
falling:
Fizz
J.
tempo,
very
(Presto..
but
in
you
this
have already
cato passage
the
play
if
W. 14267.
in
good rising:
fashion
analogous to that
of
178
In
THE VIOLONCELLO.
the
of
case
the
of
Cello, this
the
two following
is
figure
be
arpeggios may
equally
written;
Either
Presto.
Violoncello.
===
:=K
'
excellent:
Struck chord:
Pizz.
N. B.
little
Double
Seconds and
12.
tral
writing,
unless
may be
Stops.
to be
avoided
in
orches-
one
Exc,,lent:
Thirds
classified
J,
as follows:
3d
rjtg
Gd and 3 T strings
(possible but not of good quality.)
ist
and
(best
The following
thirds
are
difficult
for
orchestral
players, and
could
2d
strings
register.)
only
be used
in
a for-
tissimo:
^zfeEE^
From this point onwards, they become more
and more difficult and much harsher in tone:
Perfect and
Augmented
Fourths:
harsh
W. 14267.
179
THE VIOLONCELLO.
Perfect fifths are more
than on the
satisfactory
may be considered
they
Violin;
practic-
'
able:
From:
"(if
*)'
to:
All
From:
are excellent:
g=
Up
Minor sevenths
are
assigned
are more
orchestral
to
and
difficult,
their
ii
ItL.
possible up to:
Quite
easy
too
are
their
ytretc.**^
-y-]H
Minor
etc.*r
up
to:
up
to:
d"
_d
,-tt-j
pq
their
to:
'
'^
likewise
up
first inversions-.
Major:
And
Chords.
^-,^~
'^
[^
bo
ere.-**'
second inversions:
up
to:
*}'
..-"
to:
diminished fifths:
From:
p-p
V=
to:
J.
intonation
of
vv
V
(t'pn.
f
to:
truth
Common
All
^.lEE
players:
13.
..f
*=
V'
W. 14267.
more doubtful,
when
they
180
First
THE VIOLONCELLO.
inversions of chords of the
From-,
.K:
,ii :
augmented fifth:
Jg
up
Chords of the
diminished
to:
fifth:
From
Jfi
3-
-*^^
Up
to:
up
to:
inversions:
From
Chords of the
dominant
seventh:
If
r
From:
up
to:
From:
3
3
up
iff
Chords of the
to:
From:
And
*>'
diminished
up
to:
Quadruple Stops.
The following
Common
chords-.
are practicable:
.H
^ -^^
up
From:
14.
fa
to:
181
THE VIOLONCELLO.
Chords of the augmented fifth:
From:
=P
~*?'
From:
From:
^P
Chords of the
dominant seventh:
....
a
"
._ f.
i^l r
ri vjq IT
182
THE VIOLONCELLO.
The
within
limits
which
artificial
As
Remark:
in the
-~
o
From:
Il0
note,
____
'
up
Below Middle C, he will only have natural harmonics
to:
List
of
natural
mode
of
writing
Notation.
As
17.
the
in
Horn and
case of the
the
too
Cello
often
parts
time that musicians
room
leaves
the
Bass
for .doubt
Clarinet,
regarding
the
the
traditional
and
composer's intention,
high
agree
adopt some definite system.
to
a
G clef, whether used from the outset, or
-established
the
custom,
long
According
introduced incidentally later on, is regarded in the same light as a 16 ft. organ -stop,
notation being an octave above the actual sounds.
When the composer wishes the G
to retain its usual altitude in the scale of sounds, he is
C
compelled to employ the
is
the
in
first
should
making use
place,
of
it
to
the
clef
the
in
only
the
clef
clef
I
However, of late years, there have been numerous protests against this absurd custom.
need only mention Grieg, Reinecke, Hans
who
Huber, Luzatto, N. von Wilm, Ph. Wolfrum,
have always employed the G clef with its true
not to
of Saint -Saens's
speak
signification,
Second Concerto,
one with a G clef),
the
which
in
as
if
it
uses
he
two
he were
staves
writing
for
(the
the
lower
one
with
Pianoforte.
His
an
clef,
system
is,
the
upper
of
course,
safest.
to
root
out
their
true
clefs
at
all
meaning
their
The Violoncello
18.
need
old-fashioned
only.
true
altitude:
Ne
varientur.
in the Orchestra.
not, in
in
modern
connected
the
Cello
ver given
to
the
Nowadays, things have changed. The two instruments are written on separate staves,
has become a Tenor, the most intense means of
expression of the String Quintet,
not even
excepting the fourth string of the Violin, and the Double-bass is usually left to bear
unsupported the enormous weight of the harmonic mass.
All
musicians have noticed the
following curious musical phenomenon: the Cello alone constitutes a rather weak bass to the
harmony (save in some special cases, when the music
is calm and
peaceful, as in the 2Qd act of Meistersinger, for example); on the other hand,
the Double-bass seems dull and devoid of tonal
precision. Yet, when used in combination, the
Violoncello and Double-bass constitute the most admirable fundamental tone that
be
could
wished for; it is
and
flexible.
Violoncello
clear,
As an
illustration
of
bright,
full,
the use of
rich,
extremely
J.
W.
14267.
THE VIOLONCELLO.
Moderato assai.
Horns in E.
p^
pp
Violins.
Violas.
Hans
Sachs.
Violoncellos.
183
184
THE DOUBLE-BASS.
Its
compass
Virtuosi
although
ing,
some
can play
above
\>-
in
to
written:
^^
'
still
however
B!>),
Verdi,
Contrebasse)
Fr.,
from:
is
*)'
two notes
Ger., Kontrabass.
Contrabasso.
(ital.,
it
not
did
Falstaff,
I,*
use
to
scrupule
(the
writ-
*:
El
- (Actual sounds.)
Ed. Nanny, Double-bass soloist at the Opera- Comique, considers that performers on
instrument should practice the high notes up to G, and he tells of the admirable effects which might be obtained by means of the Double-basses doubling the Celli in un-
MT
this
ison
cantabile passages:
in
Violoncellos.
(Actual
sounds.)
Double - basses
cresc.
2.
The part
notes.
ten
written
is
16
to
the
in
ft.
Written:
sounds an octave
pipe,
instrument
This
clef.
tuned
is
in
fourths.
Sounding:
tr
Formerly, the
Double-bass
present time,
smaller number of strings
'Without
three
or
and
less
which
for
three
strings
This
is
the
the
four -stringed
of
depth
sake
increases
of
tone,
the
strings
this
only,
classical
the
of
quality
type
of
begin
tone, as
well
instrument
for
and
the
of
discussing
the
Double-bass,
true
easy
of
disadvantages
"without
Bottesini;
of
as
Even
better.
sounding-board.
says
by treating
was perhaps
tone
advantages
respective
Double-basses','
of
its
resonance of the
the
will
and
is
fingering,
their
furnished
kind
with
only."
Celli
three
the question
into
entering
stringed
greater
had
had
virtuosi prefer
the
at
Double-basses.
He used
to
and
played
one and
write
as
best
The low
in
less
the
same
could, and
they
C's
the
at
octave
the
part
for
simplifying
beginning of the
above, just
as
they
are nowadays.
There
capable
has
of
been no end
sounding
16
ft.
of discussion
on this
C was supposed
J.
to
subject.
have
W. 14267.
For a
existed.
long
If
it
time,
this
really ever
fourth string
had existed we
185
THE DOUBLE-BASS.
should
find
these
string,
little
in
Trumpet, whereas,
but
in
this
of
we come
a-
reality,
stead
their
in
with
neither
any collection,
Were they, to use a chemical expression,
Double-basses.
Is it
one and the same time?
credible that, whereas instruments used in
at
XIII
and
dating
from
1815
or
their
manner
of
specimens of Double-basses
thirty
ay,
Bach's
with
be seen
to
Louis
time
bass
ten, twenty,
by side
will-o'-the-wisps
numbers of three -stringed
volatilized
the
side
is
cross
all
museums
our
in
fabulous
XIV are
Louis
1820 can be
seen
be
to
on
all
not
hands,
single
Double-
discovered
anywhere?
composers manifested for the Double-bass players of yore a
"Those men',' said a musicographer to me lately, "did
contempt and disdain fully justified.
not deserve the name of musicians
they were no better than drawers of water"
By
of
writing,
3.
to
instrument
the
at
Brussels
which
of
all
Conservatory,
with
furnished
are
C,
case
five
the size
provided
the
of
Double-basses used
the
of
tuned as follows:
strings,
^
These
are
other
Double-basses
five- string
used
likewise
the
in
are
into
coming
Monte -Carlo
orchestra
instruments
descending
Germany and
in
vogue
(conducted
by
Jehin),
England;
mention
not
to
they
many
places.
Even
the
with
ordinary
the
complicating
note that
we must
diminished, so
the
that
forte passage
would
it
D can
low
not
be
to
fingering
the
of
degree
be really
very
to
any
is
it
E,
to
one
obtain
extra
extent.
great
tension
possible
the
of
4*!l
satisfactory
string
piano
in
is
proportionally
passages
only;
in
good.
Our orchestras
ought really to possess, besides the ordinary Double basses, two or three
five- string instruments descending to C, like those of the Brussels Conservatory. Just as
we have ascending Horns and descending Horns (P. 57, 3) so we should have Solo
Double-basses
Tutti
and
Solo Double-bass:
Double-basses.
Tutti Double -bass:
--<+-
Fingering;.
4.
In
possible
semitone.
The
the
case
between
It
the
is
of
only
figure
following
the
2DJJ
between
shows
the
the
1* and 20^
fingering
of
fingers
the
that
diatonic
this
interval
can be reached,
scale:
3
,4
V
-*
0224141
(O a
Open
P
,0*3:
3+
(+=
H ar
String;
g
onic j
ffl
Depressed
String, or Harmonic.)
Df Riemann calls
N. W. Koch (Musikalisches Lexikon, 1802) not onDouble-bass (E, A, D, G), as being already known at that time, but even mentions the possibility of descending a tone lower, to D.
my
J.
W.
U267.
186
5.
is
played
not
to
lose
short;
in
the
well
very
from
change
down -bow
forte each
in
is
It
attack
the
of
piano
bow
the
that
fact
performer
of
mark
therefore
take
to
is
his
intention
and
clearly,
which
with
an
to
bow
of
change
case
the
of
sight
the Double-bass
is
attracting
at
liberty
undue
is
to
notice,
but
place.
the
brass
ter
Double-bass
The
6.
of
not
is
so much
strings
of
four
Its
wire)
melodic
instrument
catgut
all
which
(of
good,
equally
as
the
two
although
lowest
the
most
whole
sonorous
regis-
between:
lies
and
sounding:
*.*
as a
Beethoven
players,
for
of
Cello
were
they
the
present
day
can
succeed
rendering the
in
15* string
as intensely
string.
still
are no
alive
longer
he
would
"drawers
write a
certainly
of
but
water,"
Concerto
first-rate
to
please
Double
bass
musicians.
All
and
major
minor
shakes
ikes
are
currently
used, and
possible
up
to
(extreme limit.)
The minor
third
3rd string,
is
only
from
fingers.
On
On the 2Qd
On the lt
String.
^\ ^
~^'
^1
String.
"
(
..:':)
J.
W.
14267.
Jfl
187
THE DOUBLE-BASS.
Staccato passages
in
octaves are
Allegro.
very
rate
jtf
movement:
of
")'
are
skips
impossible
in
quick
tempo.
Pizzicato.
The Pizzicato can be used
8.
sonorous
register
lies
in
of
any part
instrument's
the
compass, but
the
most
between:
AJL
and
Pizzicati are
frequently
such
the
at
but
heights
written
tone
A and
up to
even
By.
losing
all
charm.
Remark:
Pizzicato playing should be avoided in very quick tempo, on account of the fatigue it
causes the performer, who is soon exhausted, and therefore plays without vigor. When obliged to
employ the Pizzicato in rapid tempo, the composer will do well to write for the Double-basses
dirisi, giving a few bars to each group alternately:
All? Vivace.
Double -basses.
(Divisi)
Double
9.
are
stops.
practicable:
'Xt
All
thirds:
from.-
*)'
up
All
perfect fourths:
All
perfect fifths:
from
from
to:
J.
W. 14267.
to:
188
10.
THE DOUBLE-BASS.
Sixths
tuosi, but
taves
are
(unless
are
impossible, except
in
the
high
the
in
orchestra;
impracticable
the lower note happens to be an
register,
the
same remark
open
applies
to
string):
Sixths possible
_ii_
y:
Sevenths possible
sonorous passage
illustrates
Octaves possible
use of double
the
stops:
U V
(E.Nanny.)
Harmonics.
11:
know,
On the Double-bass,
artificial
harmonics
natural
are
Double-bass players cannot reach this interval on one and the same string.
Even among
the natural harmonics some are
viz.
those
of
the
thick
E string, on
hardly practicable,
very
which only the 4tb and 5tb_ upper partials can be produced:
*o
Q
_
*)'
"
ff"
(Actual sounds.)
List of Harmonics.
(ACTUAL SOUNDS.)
fundamental,
,,
(others
THE DOUBLE-BASS.
By writing harmonics
Double-basses
the
for
189
tone - color
chords of an admirable
divisi,
can be obtained:
Harmonics:
etc.
I
HI
"Owing to the great length
the production
of
harmonics!
employing
cessfully
of
its
ii
strings','
Verdi
harmonics
the
ll'Hi
Double-bass
the
of
in
the
of
3r
is well
Berlioz's
act
of
adapted for
remark
by
suc-
A'i'da.
Bowing.
12.
All
qually
short
bow
We
remarks made
case
the
in
passage
be
connection with the bowing of the Viola and Violoncello apply e5 concerning the
(save the restriction mentioned in
Double-bass
Double-bass).
that
repeat
So much
the
of
in
the
of
is
forte
Double-bass.
the performer
Moderate.
"
1
T
(j
of
own
his
mII
accord
makes use
of
Moderate. Y
JJ Great
if
the
-r
ff
use of down-bows.
bowing,
down- bows:
Less sonorous.
energy.
Buns.
Rapid runs are very
and powerful:
Andante.
13.
fective
frequently
written
for
the
^^-^^
Andante.
u
V'*U K
u >
tt-tt
9 !f
(Berlioz, Invocation
a la Nature.)
Moderate.
(Gluck, Armide.)
with
By
of
St.
Jean.)
all
which
strings.
J.
W. 14267.
THE DOUBLE-BASS.
come
On the other hand, passages played by the Double-basses quite alone do not
the
clearly,
used
form
instruments
same phenomenon as
the
16
the
most
brightest,
out
are
supple, and
lower
the
thicker
observable
that
the 8
any one of
Bourdon
ft.
ft.
robust
ingly
becoming
these two
and
heavier
they
orchestra.
is
It
ing
deep
together,
the
in
notes
on
the
when
Organ:
the weakest
even
stops
is
obtained.
to a dull, slow-speakis
added, an astonish-
The Mute.
(SORDINO)
So
we have
far,
cause
seemed
it
The
Mute
Violas, and
(It
the
is
is
suitably
Due
to
use
in
this
not
is
the
all
to
case,
by
assigning
not
is
brations,
that
on
employed
tained
ever
will
seem
would
in
perceive
the
case.
that
Mute
In
all
was
the
of
strings
timbre more
Violins,
penetrating.
on the 4th
be played
in
use
the
Double-bass, just
the Mute only
the quality darker and duller."
rendering
to
their
the
of
this
characteristic;
Tempora mutantur:
vibrations
of
string
as on
still
the
very
be-
one
to
it
that
Mute,
Double-bass.
instruments
stringed
the
intended
passages
the
to
known accessory.
somewhat
the
on
employed
in
it
of
strength
the
at
much
it
other
balanced
the
damp
instruments, referred
stringed
such a well
describe
it
the
of
treating
to
It
are
employed
because,
no one
that
needless
better not
Violin,
when
Violoncellos, while
The Mute
When
not,
nowadays the
Mute
is
the time
in
of
will
Berlioz,
be so well-balanced
who
says:
"Mutes
bowed instruments, but the effect obsomewhat diminishes the strength of the viother
no
longer employed by
Double-bass players.
The Bridge.
(PONTICELLO)
The tone of
which
bow
the
obtained,
When
bowed
is
above
the
bow
brought
the
is
speak, glittering:
or
becomes
the
to
bear.
Whereas, close
while incomparably
A similar change
close
to
to
ed
the
in
the
timbre
sounding-board:
it
in
of
is
is
to
the
weak and
timbre
powerful
in
of
the part of
to
according
bridge
the
maximum
the string
brilliancy
on
is
dull!'
the
instrument
an impressive
is
metallic
ensemble,
the
and, so
tone-col-
pianissimo passages.
the
Harp may
be observed
J.
quality.
W: 14267.
191
The Back
Bow.
of the
(LEGNO)
Some composers,
Saint
Meyerbeer in L'Africaine, Wagner in Meistersinger,
have
succeeded
in
effective
use
of
notes
Saens in the Danse Macabre,
making
produced
of
the
bow.
with
the
back
the
strings
by striking
e. g.
the
nough,
this
Here
pattering
effect
follows
of
is
of
curious,
-stones
hail
should
list
very
be
not
French,
on
used
Italian,
Although
plate-glass.
without
a very dry
resembling
marked
very
intention.
in
connection
Strings.
French.
Italian.
Pizzicato.
Pizzicato.
Archet.
avec Sourdines.
Pizzicato.
Bogen.
con Sordini.
sans Sourdines.
Arco
German.
mit Dampfer.
fohne Dampfer.
senza Sordini.
(die
Divise's.
Unis.
Divisi.
le
Chevalet.
sur la Touche.
sur la
4e
Corde.
Zusammen.
sul Ponticello.
sul Tasto
sul
sul Ponticello.
sul Tasto.
sul G.
Soutenu.
Sostenuto.
fort.
Geteilt.
jTutti
.
(insieme.
sur
Dampfer
Ausgehalten.
vGetragen.
Staccato.
Staccato.
J.
W. 14267.
Staccato.
with the
192
TABLE
showing the compass of the various Instruments.
Notation.
Actual Sounds:
Written:
Piccolo.
Flute.
Oboe.
Cor Anglais.
Written:
Clarinet.
Written:
Bass Clarinet.
Bassoon
=3^
:
.
A)
4^
Wagner
down
to A.
Sarrusophone.
-T^
-^
Written:
'
oassa.
Ascending
(Tuneifc
J.
Written:
W. 14267.
E2E
^T
$
(V.
Page
58,
4.)
193
Written:
^fe
(V.
Written:
Page
58,
4.)
Nowadays tuned
Trumpet.
Cornet a
^-f
-^
pistons.
Tenor Trombone.
'
.._. in
;.
ll^nnH
Ut ._ A
(written as
it
sounds.)
Written:
'I
in
is
very
little
used at present.
(V. P. 78.)
Bass Trombone.
=^
Wanting
Tuned
Tuba.
in
in
many
orchestras.
C and Bk
(V. P.
94.)
Kettle-drums.
Drums
are employed.
Harp.
Maximum
Violin.
stretch possible.
Viola.
Violoncello.
rich.
do.
do.
<S
Double -bass.
Written:
do.
(V.
J.
W. 14267.
Page 185.)
full
and
194
List of
FLUTE:
Excellent:
difficult.
very difficult.
Remark:
very difficult.
somewhat
heavy.
On old-fashioned Flutes
the following
lowing
impossible.
Excellent:
to:
from:
CLARINET:
All shakes are
possible:
BASSOON:
Possible:
All good: =|
to:
from:
J.
W, 14267.
flat
Remark:
OBOE:
flat.
somewhat
fol-
195
of Harmonics.
List
Safe Notation.
(The manner of production being indicated.)
left
to the
player.)
*o"j
VIOLIN.
From:
From:
to:
to:
.7
VIOLA.
From:
From:
to:
VIOLONCELLO.J. .......
.-
From:
2=
From:
to:
DOUBLE-BASS.
As a fourth on
players
this
instrument
of
constitutes
artificial
too great
stretch
for
the
fingers,
Double-bass
The only harmonics lower than those given above which the composer has at his disposal
are the natural ones, i.e. the 25^ and 3?^ upper partials.
for the Dou(V. for the Violin P. 160; for the Viola P. 174; for the Violoncello P. 181;
ble-bass
P.
188.)
Remark:
Violin.
Viola.
%!
Double-bass.
may be
196
An
ier,
interval
played
heav-
Divisi.
f\
Light:
is
J.-J
f
well adapted for modulatpassages, double-stops are not very flexible, not very
and their truth of intonation is very doubtful. Double-stops are most frequenting purposes,
to
the
Violas, in the heart of the orchestra, and in the best part of the instrument's
ly given
piano
In
compass.
written
frequently
for
Violas, each
the
playing double-stops.
if
nough to be able to write out from memory a given page of Beethoven, then let
modern compositions, and consult the works of such musicians as the following:
Germany:
In
In
Austria-.
In
Italy-.
Ferrari,
In
Humperdinck, Gernsheim,
Wolfrum.
Schil-
Hugo Wolff,
Puccini,
Goldmark,
Giordano,
Bruckner,
Mancinelli,
G. Malher,
Martucci,
Bossi,
Dvorak,
Smetana, Fibich.
Leoncavallo,
Mascagni, Wolff-
Cilea.
Russia:
Zolotarew,
Rimsky-Korsakow,
Balakirew,
Glazounow,
Liadow,
Borodine,
Cui,
TaneVew,
Sibelius.
Sweden:
In
Norway
In
Belgium:
In
Holland:
In
Denmark:
Asger-Hamerick.
In
England:
Mackenzie,
In
America:
Mac
<&
Gevaert,
Richard
Grieg,
Tinel,
Sinding,
Radoux,
Svendsen.
Blockx,
composers,
art
Gilson,
Mathieu.
Hoi.
Dowell,
Parry,
Villiers- Stanford,
Chadwick,
Cowen,
Elgar.
and many
others; nothing
ious
study
d' Albert,
Hofman,
lings,
him
J.
W.
14267.
of var-
197
Conclusion.
1$
an
indeed, would
from
it
method
on
a book,
but
the
of
voice
learned
by
of
the
must
be
orchestra,
know
nothing
do not so much
is
for a
A composer
with
deal
the voice.
the
Clarinet
the
can, at
worst, be
studied
up
Many composers
for
writing
must
Soprano
on
enunciate
to
of
the
of
experience.
that
suspect
former
the
possible
as
for
to
craft?
his
and
a far
is
art
suffice
able
singers!
Cor Anglais
the human
been
describe
musical
the
of
and
analyze
have not
learns
How much
shake.
Singing
quiring
been to
or description
singer
ask advice
The capabilities
in
the
without
Clarinet
way" and
the
ver
analysis
that
work having
this
instruments
And
of
G, A, and
the
voice.
be
treated
// in alt,
You
well
perfectly
meet composers
will
differently
from
a Tenor,
who
re-
Soprano.
unable to sing
if
should
himself,
at
least
sing.
*
*
It
was no part
of
my program
for
me
that
contrast,
let
simply a manual
but
within
making
Let us,
(1.)
the
repeat
intended
last
however,
to
treat
to
the
of
book
the
present
give
some account
grouping of
is
no
of
complete
the
treatise on
progress made
balance and
of
instruments,
orchestration,
in
instrument-
years.
fifty
summarize the
most essential
of
principles
our
art:
Write your orchestral music so that each group can be heard without
the
others.
as an army
Just
chestra
the
that
last.
of
at
other
two,
so must
the
first
rehearsal
it
viz.
arms,
Woodwind,
Strings,
Just
of
consists
three
comprises
and
Infantry,
of
of
action
the
Woodwind
will
be read
of
J.
Artillery, so
the
Or-
Brass.
Cavalry, and
W. 14267.
symphonic orchestra.
Imagine
it
true
bass, and
198
Write
plays
The performers
judge at
first
ant
in
justice
main
whether you
have
fore-ground,
or to play
work
the
difficult
details
the
of
conductor
fall
evident
is
When,
made?
that
but
the
in
entirely
and
dawn on them,
do
his
to
out
import-
tolerably
will
they
able
stand
However
background.
concentrate
to
able
nevertheless
be
themselves
on
attention
the
themselves,
performers, dominated by the
spontaneously produce the necessary intensity of sound.
will
it
neither
various
the
the
of
line
into
These enquiries
would doubtless
However,
this
answer
a comparison
novel
is
it
Now,
like
is
logical
Woodwind
leaving
unanswerable
be
search
to
by
one's
same
be
technical
point
con-
be
the
for
when should
the
to
can be given as to
rules
substituted
from
Strings?
modulation
of
view.
to
make
said."
Is
rule,
analogy.
home and
setting
the
be
order.
for
light
other querv:
this
a sentimental
us even
landscapes,
that
degrees of
the
should
definite
any
of
only
forbids
Painting
different
always
reply:
is
in
same order as
Modulating
behold
will
nor
and
colors
be of the
Satirists
common sense
Music
in
be asked,
might
would
This question
to
keep
be
will
secondary
to
immediately
will
composer,
them
The
their
It
If
will
it
intended
meant
have
be,
it.
rendering
will
(3.)
be
may
movements,
firm
interpret
the
or whether you
part,
to
sight
in
conspicuously
he
the part
orchestra.
the
in
may understand
in
which
instinct
out
for
India,
hue.
prompts
us
to
modulate
should
likewise
tell
(4.)
in the register
Avoid
the
extremely high notes.
do not do so for any length
them,
The
If,
of
for
where
a special
effect,
piece
a
is
a piece
while
their
at
The great
tical
means
all
to
required
of
beginning
after
-pressure
of
Trumpet is so great
Brass Band: at the
long, hardly
any
masters always
volume of
wrote
of
time.
use
sound
logically
and
is
clearly;
execution.
J.
left
W. 14267.
but
if
the
lost
199
Appendix to Chapter
IV.
Frequently, two
tensity
of
the
or
sound,
in
tuned
B?, and
to
This device
of
to
Voix celeste
organ-
PP
ff
is
only
the
vibration
in
other to
applicable
the
strings, of which
Ajt.
notes
to
two neighboring
simultaneously
whose time-value
is
ing
of
thus we write:
stop;
one
effect
not
in
too short;
in
the follow-
(++):
semiquavers
R.H.
R.H.
R.H.
R.H.
3>5
i(t
L.H.
It
of
need
those
Here
is
hardly
degrees
be
of
added
the
L.H.
that
scale
it
which
^=
is
have
L.H.L.H.
impossible to
U"*1.H.
make use
of this
device
in
the
case
no homophones.
CO
L.H.
sounds as written:
left
200
The Origin
The Swell
gan
seded
shades
and
organist
at
Organ
at
builder
Church
stops, but
ten
One
first
chromatic
plete
which
Martyr (London).
were slid one over
at
in
1479
dates
who
by R.
the
taves
(A, B, C, D, E,
tones
were
what
but
with
the
laths
is
is
F,
tenth
attributed
erroneously
said
have first
to
other,
with
Bernhard the
to
introduced
Agricola,
of
pedal -boards
1673
from
the
with a
pedal -board
century, the
G. A, B, C, D, E,
C and possessed
from
starting
of
analogous
pedals
It
French
manual
consisted
G, A).
About
F,
to
of
the
com-
of a
(Nieuwe-Kerk, Amsterdam).
and the
be traced
of
pedal -board
had
only
15 keys
it
to F.
embracing
middle of the
with
ones, but
fltl!
two
oc-
Century, semi-
of
had
to
go to one side of
of
each
in
all
playing,
Sliders,
at
levers,
beginning
of
and
14.
the end
his
them back:
the
Or-
was
of
can
Stops
such
of
beginning
manual
third
pending
form
manuals!
a blow
merely
the
Swell
Elder, in
arrangement.
specimens
scale
In
the
was furnished
first
Manuals.
the
German, an
pedal in 1471. The
A pedal was added to the Or(1361) was provided with pedal -keys.
St Nicholas at Utrecht not later than 1450. And lastly, the Organ
Venice
a peculiar
of
the
of
of
built
Groningen,
Jordan
by
This primitive
the
invention
Its
at
Halberstadt
the
in
gan
Magnus
shutters
1712
in
louvres.
or
Pedal- board.
The
introduced
time
first
the
by
vertical
St
of
movable
with
provided
for the
Church
the
of
was
lath
its
stop -handles
century;
pipes from
the
at
that
each other);
instrument
and
time
the
not
organist,
sus-
string;
simplicity!
come
into
J.
were
they
primitive
did
15t!l
W. 14267.
use
before
the
end
of
the
16th
or
&c.
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